PA U L V O N K L E N A USONATINE FOR KLAVER
E-DUR

SONATINA FOR PIANOE MAJOR

PA U L V O N K L E N A USONATINE FOR KLAVER
E-DUR
SONATINA FOR PIANOE MAJOR

københavn 2010

UDGIVET AF
EDITED BY

LISBETH AHLGREN JENSEN

Cover design Willerup &Music Based on a scanned dyeline print, 1944
DCM 002
ISMN 979-0-9001824-1-8
Distribution Dansk Center for Musikudgivelse (DCM), København© 2010 Danish Centre for Music Publication,
The Royal Library, Copenhagenb n dBYNCNDCThis work is licensed under a Creative Commons
Attribution-NonCommercial-NoDerivs 3.0 Unported LicensePA U L V O N K L E N A UPaul von Klenau (1883-1946) var født i København men tilbragte
størstedelen af sit voksne liv i Tyskland og Østrig. Han studerede
først musikteori og violinspil i København og rejste herpå i 1902til Berlin for at studere komposition hos Max Bruch og violin hos
Carl Halír. Fra 1904 fortsatte han kompositionsstudierne i München hos Ludwig Thuille, og fra 1908 tog han undervisning hos
Max von Schillings i Stuttgart. I årene 1907-14 bestred han forskellige poster som kapelmester og repetitør ved teatre i Tyskland, hvor han endelig i 1913 ansattes som første kapelmesterved operaen i Freiburg. Fra 1919 arrangerede Klenau tillige koncerter i København, og han var i 1920 medstifter og indtil 1926
leder af Dansk Filharmonisk Selskab. Her opførtes moderneorkestermusik af alle retninger; i 1923 kunne han endog præsentere Arnold Schönberg, der dirigerede en koncert med egneværker. Sideløbende med engagementer som dirigent i Wien fra
1922 virkede Klenau indtil 1930 som kordirigent ved Konzerthausgesellschaft. Han udnævntes i 1929 til professor og havde
som dirigent og komponist Frankfurt og Wien som sine faste
holdepunkter, indtil han i vinteren 1939-40 vendte tilbage til
Danmark, hvor han døde i 1946. Klenaus musikalske produktion
omfatter musik i næsten alle genrer: operaer, symfonier, instrumentalkoncerter, kammermusik, klavermusik og sange. Hertil
kommer, at han skrev en række musiklitterære artikler, ligesom
han holdt foredrag.

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

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

Sonatine i E-dur
Det forhold, at sonatinen i E-dur og sonaten i f-mol er overleveret i lystryk med copyright-angivelsen 1944, kunne tyde på, atKlenau planlagde en udgivelse af dem, men af ukendte årsagerblev de ikke publiceret. Begge sonater bygger på det i samtidens
danske musikliv forkætrede tolvtoneprincip, som komponisten anså for at være en væsentlig udvidelse og berigelse af demusikalske udtryksmidler. Tolvtonemusikken betød efter hansmening ikke et brud med den harmonilære, der byggede pådur-mol-tonaliteten, og det var et vigtigt anliggende for ham atvise, at man kunne komponere lytteværdig tolvtonemusik, hvad
han blandt andet realiserede i tre store operaer, opført på tyske
scener i 1930’erne.
Sonatinen i E-dur, der ligesom sonaten i f-mol er et eksempel
på hans såkaldte ”toneartsbestemte” tolvtonemusik, er i tre satser, alle noteret i alla breve. Begge indgår i den samling af Klenaus
trykte noder, manuskripter og personalia, Det Kongelige Bibliotek købte i 2005, og udgives i Dansk Center for Musikudgivelse.

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

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

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

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

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CRITICAL COMMENTARYIBarPartDESCRIPTION OF SOURCES

51-52

pf.1

68

pf.1

90-91

pf.2

91

pf.2

IIBar
4
16

Part
pf.1
pf.1

37-38

pf. 1

38-39

pf.2

39
41

pf.1
pf.1

A Score, dyeline print.
DK-Kk, Paul v. Klenaus Samling Nr. 135.
Title on ﬁrst music page: “SONATINE, E DUR” [printed ingold].
30x22.5 cm, dyeline print, 11 numbered pages; few additions in pencil. Includes a separate slip (3.3x15.7 cm) with“SONATINE, E DUR” printed in gold, and a handwritten slip(c. 5.7x17.3 cm) with the correction “Side 5. (Linie 1.) og Side
6 Linie 2 & 3” (Page 5 (line 1) and page 6 lines 2 and 3)) corresponding to bb. 13-14, 38-39.
”Copyright 1944 by Professor Paul von Klenau A/S Dansk
Lyskopi”.
In the lower right corner of each page “a” is added in pencil,
and in the margin of p. 5 next to the fourth system from thetop a bass clef and the text “hvor?” (where?) is added .

FILIATION AND LIST OF EDITORIAL EMENDATIONS AND
ALTERNATIVE READINGSThe only known source of Paul v. Klenau’s Sonatina in E major
is a corrected dyeline print (A), which also includes an inserted
correction slip. The revision is based on A and mainly consistsin the correction of copyist’s errors (e.g. pitches) and the addition of cautionary accidentals; in some cases the articulation has
been completed by analogy with parallel instances in the source.
Furthermore, aspects of typography have been normalized (e.g.
tempo markings).
As for accidentals the principle seems to be that an accidental is valid only in the very octave and the very part in which it isadded; however, a cautionary accidental is often added in a different part or in a different octave from the one in which the alterednote occurred. However, it seems to be a principle – not necessarily used in every case – that accidentals are not to be repeatedfor notes tied to a previous note following a bar line. The editor
has tacitly omitted a number of cautionary accidentals in accordance with the principles mentioned above concerning the interpretation of Klenau’s practice. However, accidentals implying achange of pitch are in all cases followed by a comment. By tempo
Klenau apparently means “back to main tempo”, and in thosecases tempo has been emended to a tempo by analogy with ﬁrst
movement, b. 8I.
Finally, no attempt has been made to adjust the composer’spart writing. Bar numbers are added by the editor. The present
edition is based on a scanned version of A, revised by means ofimage editing software.

14IIIBar2
842pf.2pf.1,2

48

pf.1

84
91
102

pf.2
pf.2

116

pf.2

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PartCommentGrazioso. Leicht ﬂiezend. a la breve emended to Grazioso. Leicht ﬂießend a la breve
it is uncertain whether Klenau’s unconventional slurs
are ties (from b  to b ) or traditional slurs, and no attempt at a normalization has been made.
note 4: stacc. added by analogy with b. 16 (pf.2) andb.72
lower part: b.90 note 2 to b.91 note 1: slur emended
from open slur by analogy with b.38 note 2 to b.39
note 1; A: b.91: beginning of slur open
note 1 (upper part): open slur omitted; A: note 1(upper part): beginning of slur open added by analogy with b. 29; A: bar incomplete
Commentfourth crotchet (bottom note):  added by analogy
with pf.2 (open tie from second crotchet (lower note)
clearly indicates that the missing b is a misprint)
b.37 third crochet note 2 to fourth crotchet: sluremended to slur b. 37 third crotchet note 2 to b.38 ﬁrst
chordb.38 chord 2 (bottom note) to b.39 chord 1 (next to topnote): tie emended from open tie; A: b.39 chord 1 (nextto top note): tie open
chord 1: f  emended to f  by analogy with pf.2
fourth crotchet (bottom note):  added by analogy with(b.16)

Comment
p added by analogy with bb.1, 90
note 3: F emended to F by analogy with note 1
chord 2:  emended to  by analogy with bb.44, 102,104; fourth crotchet: stacc. added by analogy with b.44
chord 1: f , a , c  emended to f , a , c  by analogywith b.61
  
F , f emended to G , g by analogy with b.131
p added by analogy with b.3
fourth crotchet: stacc. added by analogy with pf.1 andb. 104
note 6: c  emended to c  by analogy with pf.1 and b.26