C A R L

N I E L S E N

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W O R K S

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BY

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C A R L

N I E L S E N
1 8 6 5 - 1 9 3 1

VÆ R K E R
W O R K S
Udgivet af Carl Nielsen Udgaven
Det Kongelige Bibliotek
Hovedredaktør Niels Krabbe
Serie III. Vokalmusik. Bind 7

Published by The Carl Nielsen Edition
The Royal Library
Editor in chief Niels Krabbe
Series III. Vocal Music. Volume 7

Edition Wilhelm Hansen
Copenhagen 2009

Carl Nielsen Udgaven CN 00051

2

C A R L

N I E L S E N
S A N G E
K O M M E N T A R E R

S O N G S
E D I T O R I A L

T E X T S

Udgivet af
Edited byNiels Bo FoltmannPeter Hauge
Elly Bruunshuus Petersen
Kirsten Flensborg Petersen

Edition Wilhelm Hansen
Copenhagen 2009

Carl Nielsen Udgaven CN 00051

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Graphic design
Music set in
Text set in
Printed by
CN
ISBN
ISMN

Kontrapunkt A/S, Copenhagen
SCORE by New Notations, London
Swift
Quickly Tryk A/S, Copenhagen00051
978-87-598-1823-7
M-66134-211-3

Sponsored by

A.P. Møller og Hustru Chastine Mc-Kinney Møllers Fondtil almene Formaal
Translation of song texts sponsored by Fyns Amt

Distribution

Edition Wilhelm Hansen A/S, Bornholmsgade 1,
DK-1266 Copenhagen K
David Fanning (Preface), Holger Scheibel (song texts)
with Stuart Henney (consultant)

Translation© 2009Carl Nielsen Udgaven,
Det Kongelige Bibliotek, København
All rights reserved 2009
The publisher has made every efforts to obtain
permission from any rightsholders to the lyrics of thisedition. Should we however not have succeeded in contacting the correct rightsholder this is unintentional.
Possible claims will be honored as if permission wereobtained in advance.

Carl Nielsen Udgaven CN 00051

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4

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S A N G E
I bind 1-3 henvises til sangnumre, i bind 4 til sidetal.

S O N G S
In volumes 1-3, numbers refer to songs
while in volume 4 they refer to pages.

SONGS 1 (Nos. 1-144)

SANGE 1 (Nr. 1-144)

SONGS WITH PIANOSANG OG KLAVER

Collections 1-144 Samlinger

SONGS 2 (Nos. 145-292)

SANGE 2 (Nr. 145-292)

SONGS WITH PIANOSANG OG KLAVER

Collections 145-213 Samlinger
Separate Songs 214-286 Enkeltsange
RECITATION AND PIANO

287

RECITATION OG KLAVER

CHOIR AND PIANO 288-289 KOR OG KLAVER
VOICE AND INSTRUMENTAL ENSEMBLE 290-292 SANG OG INSTRUMENTALENSEMBLE

SONGS 3 (Nos. 293-431)

SANGE 3 (Nr. 293-431)

A CAPPELLA CHOIRKOR A CAPPELLAMIXED CHOIRBLANDET KOR

Collections 293-299 Samlinger
Separate Songs 300-314 Enkeltsange
MALE CHOIR 315-332 MANDSKOREQUAL VOICESLIGE STEMMERCollections 333-382 Samlinger
Separate Songs 383-400 Enkeltsange
UNISON SONGSSANG UDEN LEDSAGELSE

Collections 401-416 Samlinger
Separate Songs 417-423 Enkeltsange
APPENDIX 424-431 APPENDIKSSONGS (Editorial Texts)

Carl Nielsen Udgaven CN 00051

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SANGE (Kommentarer)

5

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CNU_III_7_indmad.indb 6

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I N D H O L D
Henvisning til sidetal

C O N T E N T S
Numbers refer to pages

SONGS (Editorial Texts)

SANGE (Kommentarer)

Abbreviations

8

Forkortelser

General Preface

9

Generelt forord

Preface11

ForordFacsimiles

153

Faksimiler

List of Names

179

Personliste

English Translations of Carl Nielsen’s Songs

183

Engelske oversættelser af Carl Nielsens sangeEnglish Title Index

299

Engelsk titelregister

Songs with Text in a Foreign Language

306

Sange med tekster på fremmede sprog

Sources313

Kilder

Editorial Emendations and Alternative Readings

415

Revisionsberetning

Author Index

528

Forfatterregister

Title Index

532

Titelregister

Carl Nielsen Udgaven CN 00051

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F O R K O R T E L S E R
A B B R E V I A T I O N S

A

alto

b.

bar

B

basso

Bar.

baritono

bb.

bars

cb.

contrabbassocl.

clarinetto

CN

Carl Nielsen

CNA

Carl Nielsen Arkivet (The Carl Nielsen Archives)

CNS

Carl Nielsens Samling (The Carl Nielsen Collection)

CNU

Carl Nielsen Udgaven (The Carl Nielsen Edition)cnt.

cornetto

DK-Kk

Det Kongelige Bibliotek, København(The Royal Library, Copenhagen)

DK-Kk (m)Musikmuseet (The Danish Music Museum)fg.

fagotto

ﬂ.

ﬂauto

fol.

folio

HA

Håndskriftafdelingen(The Royal Library, Manuscripts and Rare Books)

ob.

pianoforte

pf.1

pianoforte, upper staff

pf.2

pianoforte, lower staff

Pl. No.

Plate Number

RECIT.

recitation

S

sopranostacc.

staccato

str.

stringsT

tenoreten.

tenutotrem.

tremolotrb.

trombone

va.

viola

vl.

violinovc.

violoncelloCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 8

oboe

pf.

8

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G E N E R E L T
G E N E R E LTF O R O R D

P R E F A C E

he Carl Nielsen Edition is an independentC

arl Nielsen Udgaven er et selvstændigt projekt under Det Kongelige Biblioteks Musik- og
Teaterafdeling, iværksat i 1994 på Kulturmi-

nisteriets foranledning og ﬁnansieret af Kulturmini-

project under the auspices of the Music andsteriet og Carl Nielsen og Anne Marie Carl-Nielsens Legat,

Theatre Department of the Royal Library,hvortil kommer støtte fra en række private fonde tillaunched in 1994 on the initiative of the Ministry of

udgivelse af de enkelte bind.

Culture and funded by the Ministry and the foundation

Udgaven er til såvel praktisk som videnskabe-Carl Nielsen og Anne Marie Carl-Nielsens Legat, with further

lig brug, tilrettelagt efter kritisk-videnskabelige udgi-

ﬁnancial support for the publication of the individual

velsesprincipper. Den omfatter samtlige Carl Nielsens

volumes from a number of other private foundations.

afsluttede værker og enkeltsatser og søger i videst

The edition is for both practical and scholarly

mulige omfang at afspejle værkerne i den af kompo-

use, and is based on critical editorial principles. It

nisten senest sanktionerede version. I tilfælde, hvor

comprises all Nielsen’s ﬁnished works and completed

sange foreligger i ﬂere forskellige arrangementer fra

individual pieces, and seeks as far as possible to reﬂect

Carl Nielsens hånd, udgives alle versioner.

the works in the version last sanctioned by the com-

Hvert værk er forsynet med en indledning,poser. In cases where songs exist in several different ar-

der kort beskriver værkets tilblivelseshistorie og pla-

rangements by Nielsen, all the versions are published.

cerer det i den samlede produktion, samt en kritisk

Each work is furnished with an introduction

beretning, hvor der redegøres for kildesituationen,

which gives a brief account of the genesis of the work

redaktionelle ændringer og tilføjelser og vigtige va-

and its place in the composer’s oeuvre, and a Critical

rianter. Den kritiske beretning udgives sammen med

Commentary including source description, editorial

nodeteksten.

emendations and additions, and important alterna-

Udgaven er opdelt i hovedserierne Scenemu-

tive readings. The editorial material is published to-sik, Instrumentalmusik og Vokalmusik med tilhø-

gether with the music.

rende opdeling i enkeltbind; inden for hver genre er

The edition is divided into the three main se-værkerne ordnet kronologisk.

ries Stage Music, Instrumental Music and Vocal Music,
each further divided into volumes; within each genre

Serie I, Scenemusik

the works are ordered chronologically.

Operaer
Skuespilmusik

Series I, Stage Music
OperasSerie II, Instrumentalmusik

Incidental music

SymfonierAndre orkesterværker

Series II, Instrumental Music

Koncerter

Symphonies

Kammermusik

Other orchestral works

Klaver- og orgelværker

Concertos
Chamber music
Piano and organ works

Carl Nielsen Udgaven CN 00051

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Serie III, Vokalmusik
Kantater
Sange
Korsatser

Series III, Vocal Music
Cantatas

Serie IV, Juvenilia et Addenda

Songs
Choral Pieces

Redaktionelle principper

Series IV, Juvenilia et Addenda

Nodeteksten gengives uden typograﬁsk markering
af redaktionelle tilføjelser eller ændringer. Disse er
Editorial principles

dokumenteret i den kritiske beretning. Typograﬁ,

The music is reproduced with no typographical indica-

partituropstilling, instrument- og genrebetegnelser ertions of editorial additions or emendations. These arenormaliseret efter nutidig praksis. Med enkelte und-documented in the Critical Commentary. Typography,

tagelser, som der er gjort nærmere rede for i den kri-score disposition, genre names, and instrument names

tiske beretning, er de mange tilføjelser og ændringer

have been normalized in accordance with present-day

i Carl Nielsens værker, der er foretaget af venner og

practice. With a few exceptions, discussed in morekolleger, fjernet.
Nodeteksten er normaliseret med hensyn til

detail in the Critical Commentary, the many additions
and changes in Nielsen’s works that have been madeartikulation, dynamik, buer, foredragsbetegnelser og

by friends and colleagues have been removed.

spilletekniske anvisninger således, at der er analogi

Articulation, dynamics, ties and slurs, execu-

mellem entydige parallelsteder. Alle sådanne kom-tion markings and playing instructions have beenpletteringer dokumenteres i den kritiske beretning.

normalized on the basis of analogies between clearly

Oplagte skrive- og trykfejl er stiltiende rettet.
Carl Nielsen noterede ofte horn og trompeter

parallel passages. All such completions are documented in the Critical Commentary. Obvious writing andmed faste fortegn. Denne praksis er normaliseret til

printing errors have been tacitly corrected.

notation udelukkende med løse fortegn.

Nielsen often notated horns and trumpets“Muta in” i forbindelse med omstemning af

with key signatures. This practice has been normal-

pauker og skift mellem to instrumenter (f.eks. klari-ized to a notation exclusively using accidentals.
“Muta in” in connection with the retuning of

net i A og B) er stiltiende normaliseret. Det sammegælder kombinationen af buer og bindebuer.

I Carl Nielsens manuskripter er de dynamiske

timpani and changes between two instruments (forexample clarinet in A and B) have been tacitly nor-angivelser undertiden placeret noget skødesløst, hvil-

malized. This also applies to the combination of ties

ket afspejler sig i de tidlige trykte udgaver. Dette er

and slurs.

stiltiende justeret. Ligeledes er manglende, nødvendig

In Nielsen’s manuscripts the dynamic mark-tegnsætning i Carl Nielsens tekster stiltiende tilføjet.

ings are sometimes rather carelessly placed, and thisNøgler gengives normalt som i hovedkilden.

is also reﬂected in the early printed editions. This has
København 1998

been tacitly adjusted. The same goes for missing punc-

Carl Nielsen Udgaven

tuation in Nielsen’s texts.
Clefs are normally given as in the main source.

Revideret 2008
Copenhagen 1998
The Carl Nielsen Edition
Revised 2008

Carl Nielsen Udgaven CN 00051

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F O R O R D
P R E F A C E

I N D L E D N I N G

I N T R O D U C T I O N

In Volume III/4-7 of the Carl Nielsen Edition the com-M

ed udgivelsen af bind III/4-7 i Carl Nielsen
Udgaven foreligger for første gang samtlige Carl Nielsens sange og korsatser på

tryk. Denne produktion omfatter 296 værker, hvoraf

plete songs and choruses of Nielsen are published

en del er overleveret i ﬂere forskellige versioner fra

for the ﬁrst time. These comprise 296 pieces of

komponistens hånd, hvorved det samlede antal sat-music, of which some survive in various different ver-ser når op på 431. Kriteriet for udgivelse har været,sions by the composer himself, making a total of 431

at den eller de pågældende versioner er udarbejdet

11

items. The criterion for publication is that the version

af komponisten eller under hans supervision. Såle-should have been made either by the composer or un-

des er relevante sangbøger og sangsamlinger fra slut-22

der his supervision. Thus the relevant songbooks andningen af 1880erne og frem til 1931 gennemgået.

collections from the end of the 1880s up to 1931 are

I forlængelse af Carl Nielsen Udgavens overordnede

3taken into consideration, whereas, in accordance withstrategi er versioner, der først er udarbejdet efter

the overall strategy of the Carl Nielsen Edition, versions

Carl Nielsens død i 1931, derimod ikke medtaget.

that were only made after Nielsen’s death in 1931 are

Enstemmige versioner af sange, der tillige foreligger

not. As a rule, single-line versions of songs that also ap-

i en anden, trykt, ﬂerstemmig version gengives som

peared in print for more than one voice are not includ-

hovedregel ikke som selvstændig sats, idet den en-

ed as separate items, since the single-line version is ob-stemmige version selvsagt er identisk med en enkelt

viously identical with one of the voices in a polyphonicaf stemmerne i en ﬂerstemmig version eller i en ud-

version or in an arrangement for voice and piano.

sættelse for sang og klaver.

In certain cases it has not been possible to de-I enkelte tilfælde har det ikke været muligt at

termine which melody is referred to in a non-speciﬁc

afgøre, hvilken melodi, der gemmer sig bag en uspeciﬁceret angivelse af Carl Nielsen som komponist til

1 Of the 296 songs, 213 are known only in one version, 48 appear in two versions, 26 in three versions, seven in ﬁve versions, one (“Sing, Danish
man!”) in six versions, and one (“A fair and lovely
land”) in seven versions.
2 The Danish word “sangbog” (here translated“songbook”) normally refers to a book of songtexts without music (for example Højskolesangbogen or Johan Borups Dansk Sangbog) for which
special collections including melodies weresometimes later published, these generally being
designated “melodibog” (“melody book”).
3 The registering and classiﬁcation of the manysongs that form the basis for the present edition
were undertaken for the Carl Nielsen Edition by
Camilla Bødker Thomsen in 2004-2005. The results of her work are an internal database covering all the songs under Nielsen’s name taken into
account in Danish songbooks prior to 1931 and inother sources.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 11

1 Af de 296 sange forekommer de 213 kun i en enkelt version; 48 sange forekommer i to versioner,
26 sange i tre versioner, syv sange i ﬁre versioner,en sang (“Du danske mand!”) i seks versioner, og
en sang (“Der er et yndigt Land”) i syv versioner.
2 Registreringen og klassiﬁceringen af de mange
sange, som danner grundlaget for nærværende
udgave, er foretaget for Carl Nielsen Udgaven af Camilla Bødker Thomsen i 2004-2005. Resultatet af
dette arbejde er en intern database over samtlige
sange under Carl Nielsens navn i de gennemgåede
danske sangbøger fra før 1931 og i andre kilder.

11

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en tekst; det gælder f.eks. to sange i Sangbog udgivet
af det Radikale Venstre og de radikale Ungdomsforeninger(Slagelse 1915), hvor der til teksterne refereres til Carl
indication of Nielsen as composer – for example, in

Nielsen som komponist uden at det oplyses, om der er

connection with two songs in the songbook Sangbog

tale om en allerede kendt melodi.

3

Udgaven af sangene bryder på to punkter med

udgivet af det Radikale Venstre og de radikale Ungdomsforeninger (Slagelse 1915), where the texts mention Niel-de principper, der har ligget til grund for de øvrige

sen as composer without indication as to whetherbind: her er værker, der er komponeret før kompo4

they were to be sung to an already familiar melody.

nistens ofﬁcielle opus 1 (Suite for Strygeorkester fra

In two respects this edition of the songs de-1888) henvist til udgavens afsluttende bind, Juvenilia

parts from the principles underlying the Carl Nielsen

et Addenda; bindene med sange derimod indeholder

Edition. As a rule, works composed before Nielsen’s of-

samtlige sange – også sådanne, som efter ovenstående

ﬁcial Opus 1 (Suite for String Orchestra of 1888) are heldprincip burde høre hjemme blandt juvenilia. Ligeledes

over for the Juvenilia et Addenda, which forms the con-gengives en række sange, der er ufuldstændigt overle-cluding volume of the Edition, whereas the present

veret, men hvor det har været muligt at rekonstruere

volumes comprise the complete songs, including thoseden komplette melodi (nr. 424-427).
Sangene er opdelt efter besætning, og inden

composed prior to the Suite for String Orchestra. Similarly these volumes include a number of songs that sur-for hver enkelt gruppe er tilstræbt en kronologisk

vive only in incomplete form, but for which it is possi-

ordning, som dog af en række grunde ikke altid har

ble to reconstruct the complete melody (Nos. 424-427).
The songs are categorised according to their

3 “Nu vaagner derude den unge Natur” af Holger
Drachmann og “Skumsprængt Bølge jager Bølge”
af Axel Garde. En henvendelse til en række medlemmer af det radikale venstre har ikke resulteret i oplysninger om, hvilke melodier man haranvendt til disse tekster. Drachmanns digt “Nuvaagner derude den unge Natur” har ganske vist
samme versemål som Carl Nielsens melodi til
Jeppe Aakjærs “Der dukker af Disen min Fædrenejord”. Men i og med at denne melodi først blev
komponeret den 25.12.1914, på hvilket tidspunkt
det radikale venstres sangbog allerede var i trykken, er det udelukket, at Drachmanns digt har
skullet synges på den. Med hensyn til Axel Gardes“Skumsprængt Bølge jager Bølge” er der tilsyneladende ingen af Carl Nielsens sange komponeretfrem til og med 1914, som passer til denne tekst.
En anden grund til at man ikke uden videre kan
udelukke, at der faktisk har foreligget to originale Carl Nielsen-melodier til de to omtalte digte,hænger sammen med følgende forhold: for det
første havde Carl Nielsen personlige forbindelser
til det radikale venstres top, nemlig journalistenog politikeren Ove Rode, bror til Helge Rode. For
det andet har Carl Nielsen antagelig kendt Drachmanns digt “Nu vaagner derude den unge Natur”.
Dette digt blev første gang trykt i fortællingen
Tannhäuser (1877), som Carl Nielsen i anden sammenhæng citerede efter hukommelsen (interview
i Fyns Tidende 3.4.1930). Endvidere stammer teksten til sangen “Og jeg vil drage fra Sydens Blommer” (nr. 239 og 421) også fra Tannhaüser. Denne
sang blev antagelig komponeret i første halvdel
af 1916 – altså ganske tæt på det tidspunkt, hvor
en mulig melodi til “Nu vaagner derude den unge
Natur” kunne være komponeret.

vocal layout, and within each group the presentation
is for the most part chronological; however, songs

4 “Nu vaagner derude den unge Natur” by Holger
Drachmann and “Skumsprængt Bølge jager
Bølge” by Axel Garde. Enquiries directed to several members of the political party Det Radikale Venstre have not revealed which melodies were usedwith these texts. Drachmann’s poem “Nu vaagner
derude den unge Natur” certainly has the same
metre as Nielsen’s melody for Jeppe Aakjær’s“There out of the fog looms my ancestors’ land”.
But given that this melody was only composedon 25.12.1914, by which time the Radikale Venstre
songbook was already in print, it cannot be thecase that Drachmann’s poem was supposed tobe sung to this melody. As regards Axel Garde’s“Skumsprængt Bølge jager Bølge” it would seemthat none of Nielsen’s songs composed up to andincluding 1914 is suitable. Other reasons why wecannot immediately exclude the possibility that
there were in fact two original Nielsen melodies
for the poems are that Nielsen knew the head of
the Radikale Venstre, namely the journalist andpolitician Ove Rode, brother of the author Helge
Rode, and that he most likely knew Drachmann’s“Nu vaagner derude den unge Natur”, since thispoem was ﬁrst printed in the story Tannhäuser
(1877), which Nielsen in another context citedfrom memory (interview in Fyns Tidende, 3.4.1930).
Furthermore the text of the song “The SouthI’m leaving” (Nos. 239 and 421) is also from Tannhaüser. This song was probably composed in theﬁrst half of 1916, close to the time when a hypothetical melody for “Nu vaagner derude den unge
Natur” may have been composed.

Carl Nielsen Udgaven CN 00051

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kunnet gennemføres til fulde; f.eks. holdes samtlige
sange fra hver af de trykte samlinger samlet, selvom
dette i visse tilfælde kan være et brud på den tidsfrom each of the printed collections are kept togeth-mæssige rækkefølge, hvori de er komponeret. Hverer, even though in certain cases this cuts across theirsats er forsynet med et løbenummer, som anvendes

strict chronological succession. Each song is given

overalt i nærværende udgave. En og samme sang kan

a serial number, which is used consistently in thesåledes have ﬂere løbenumre, såfremt den foreligger ipresent publication. The same song may have several

ﬂere versioner fra Carl Nielsens hånd.
Carl Nielsens sange udkommer i ﬁre bind:serial numbers if it exists in various versions stem-

Sange 1-2 med sange med klaver eller andet akkom-

ming from the composer.
The publication is arranged in four volumes.

pagnement, Sange 3 med satser for kor a cappella,Songs 1 and 2 comprise songs for single voice with ac-sange uden ledsagelse samt appendiks og endelig

companiment and songs for a different layout (reci-nærværende kommentarbind med indledning, ud-tation and piano, choir and piano, voice and orches-

valgte faksimiler og Critical Commentary; hertil kom-tra); Songs 3 contains a cappella choir, plus single-line

mer sangbare engelske oversættelser af samtlige sang-songs without piano accompaniment; and ﬁnally thetekster udarbejdet for Carl Nielsen Udgaven af Holger

present volume contains introduction, a selection of

Scheibel i samarbejde med Stuart Henney (se s. 183-

facsimiles and the Critical Commentary; the last volume298). Den engelske oversættelse følger originalens me-

furthermore contains singing translations of all thetrum, således at den engelske tekst kan udføres udensongs produced for the Carl Nielsen Edition by Holger

nogen form for tilretning af den originale musikalske

Scheibel in collaboration with Stuart Henney (see pp.

sats. Endelig gengives oversættelser af sangtekster til

183-298). These English translations follow the metre

andre sprog, hvor sådanne oversættelser forekommerof the original, such that the English text may be per-i hovedkilderne. Hertil kommer en række registre (seformed without any form of adjustment to the origi-

indholdsfortegnelsen).

4

5

Dispositionen i Critical Commentary er ændret

nal musical setting. Also translations of Nielsen’s
texts found in the main sources, are presented in thisi forhold til de øvrige bind. Samtlige kildebeskrivelser

volume. Finally the volume contains indices of titles

anføres fortløbende i tre lister: manuskripter i Carland ﬁrst lines, an index of authors, and a list of otherNielsens Samling på Det Kongelige Bibliotek (anført

persons mentioned in the introduction.

med MS-nummer), manuskripter uden for Carl Niel-

The layout of the Critical Commentary is differ-sens Samling og uden for det Kongelige Bibliotek (an-ent from the other volumes of the edition. The descrip-

ført med Ext.-nummer) samt trykte kilder (anført med

tion of all the sources is given in three different lists:

PR-nummer). Herefter følger for hver sang en oversigt

manuscripts in the Carl Nielsen Collection of The Roy-

indeholdende sangnummer, eventuel titel, førstelinje,

al Library (marked with a MS-number), manuscripts
not in The Carl Nielsen Collection and not in The Roy-

4 En undtagelse herfra er dog sangene til tekster
oversat fra engelsk (nr. 214-217, 315-316); her er
de originale engelske tekster bibeholdt, selvom
de ikke i alle tilfælde passer til musikken udentilretninger. De ufuldstændigt overleverede sange(nr. 425-426 og 428-431) foreligger ikke i engelsk
oversættelse.

al Library (marked with an Ext.-number), and printed
sources (marked with a PR-number). After this, eachindividual song is listed with number, title (if any),ﬁrst line, voice category and instrument, author of the

5 Exceptions are songs to texts translated fromEnglish (Nos. 214-217, 315-316), where the originalwords are retained, even though they do not inall cases ﬁt the music without adjustment. Six
songs from the Appendix (Nos. 425-426 and 428431) are not available in English translation.

Carl Nielsen Udgaven CN 00051

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besætning, tekstdigter, datering, en oversigt overkilder med henvisning til kildebeskrivelserne, samt
kritiske kommentarer.
text, date, a survey of sources with reference to the description of sources mentioned above, and ﬁnally the

Sangene omfatter tekster på dansk, svensk, italiensk

critical comments.

og latin; disse tekster er bibeholdt under noderne. Til
en del af sangene fra de tidlige samlinger til tekster

The songs include settings of Danish, Swedish, Ital-af J.P. Jacobsen og Ludvig Holstein (opus 4, 6 og 10) og

ian and Latin texts, which are given underneath thetil Stroﬁske Sange opus 21 foreligger samtidige parallel-

notes. For a number of songs from the early collec-

udgaver med tysk tekst. Disse originale tekster ertions to texts by Jens Peter Jacobsen and Ludvig Hol-gengivet i CNU III/7 (s. 306-311).

5

Teksterne til de enkelte sange anvender – med

stein (Op. 4, 6 and 10) and for the Strophic Songs Op. 21
there were parallel editions with German text in6visse undtagelser – ordvalg og ortograﬁ fra hovedkil-

Nielsen’s day. These original texts are are included inden til Carl Nielsens sang, også i tilfælde, hvor en så-

CNU III/7 (pp. 306-311).

dan version måtte afvige fra en eventuel trykt udgave

With certain exceptions the texts for individ-

6

af det pågældende digt. Når det gælder digte, derual songs use the wording and orthography from thestrækker sig over en periode på mere end 100 år, villeprincipal source for Nielsen’s setting, even in cases

det ikke give mening at ensrette ortograﬁ og tegnsæt-where such a version may deviate from a printed edi-ning. Hertil kommer, at der helt frem til 1918 er taletion of the relevant poem. Since the poems cover a7om skiftende konventioner og ikke om fastlagte regler

period of more than a century, it would be pointlessfor dansk retskrivning; først i 1918, med den syvende

to attempt to make orthography and punctuation uni-

udgave af Saabys Retskrivningsordbog, foreligger et sæt

form. In addition, up till as 1918 conventions of Dan-ofﬁcielle retskrivningsregler, selvom man langt tid-

ish spelling varied, with no ﬁxed rules. Only in thatligere har kendt til ordlister over det danske sprog. I

year, with the seventh edition of Saabys Retskrivnings-

denne ordbog ophæves en række ortograﬁske dobbelt-

ordbog, were ofﬁcial rules established, even thoughformer, som har været i gængs brug indtil da, og som

more or less authorised word-lists for the Danish lan-hos Carl Nielsen optræder side om side – undertiden

guage were known much earlier than that. This dic-

endda i samme tekst (f.eks. saae og saa; Hus og Huus;

tionary removed a number of alternative spellings that

Kvinde og Quinde; kær og kjær; Vei og Vej o.m.a.).
Også de tidligste regler for tegnsætning går

had been current until then, and which Nielsen usedinterchangeably, sometimes even in the same text

tilbage til ovennævnte retskrivningsordbog fra 1918.

(for example, saae and saa for “saw”; Hus and Huus for

Her slås det fast, at der ﬁndes to – principielt ligevær-“house”; Kvinde and Quinde for “woman”; kær and kjærdige – systemer: “det lydlige princip” (tegn sættes,

for “dear”; Vei and Vej for “road”, and many others).

hvor man i talen gør ophold) samt “det grammatiske

The earliest rules for Danish punctuation also

princip”. Selvom det i ordbogen indledningsvist under-

have their origin in the above-named dictionary. Herestreges, at begge systemer har gyldighed, nævnes det

it was established that there were two systems, each indog også, at det grammatiske princip “er overvejende

principle equally valid: the ‘acoustic principle’, in whichpunctuation was placed according to pauses in speech,

5 For Jacobsen-sangenes vedkommende i form af
en selvstændig tysk udgave, for de øvrige sanges
vedkommende i form af tysk tekst under den
danske tekst. Nr. 301, Sidskensang, er forsynet meden tysk tekst, tilføjet under den danske tekst ifremmed hånd.
6 I enkelte tilfælde er sådanne afvigelser anført
som varianter i Editorial Emendations and Alternative Readings.

and the ‘grammatical principle’. While the dictionary

6 In the case of the Jacobsen songs this took the formof a separate German edition; in the other songs
the German text appeared beneath the Danish. No.
301, Siskin Song, was provided with a German text
added beneath the Danish in a foreign hand.
7 In a few cases such deviations are listed as variants in the list of Editorial Emenations and Alternative Readings.

Carl Nielsen Udgaven CN 00051

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i dansk Litteratur og i Skoleundervisningen”, og det
anbefales derfor “i det store og hele” at følge dette.
Forud for 1918 har de to systemer levet side om sideemphasised in its introduction that both systems were7

uden at nogen egentlig autorisation har fundet sted.

valid, it also mentioned that the grammatical principle

Det skal understreges, at både når det gælder

was ‘predominant in Danish literature and school edu-

ortograﬁ og tegnsætning, er Carl Nielsen ofte inkon-

cation’, and it therefore recommended ‘on the whole’

sekvent. Normalt er hans version af teksten gengivetthat this should be followed. Before 1918 the two sys-

i udgaven under iagttagelse af nedenstående hoved-

8

tems co-existed, without any actual authorisation.

principper:

It should be emphasised that Nielsen is often– Inden for hver enkelt sang er tilstræbt orto-

inconsistent as regards both spelling and punctua-

graﬁsk ensartethed.

tion. The present edition normally prints his version– Mens der kun sjældent korrigeres i forhold tilof the text, bearing in mind the following principles:

tekstforlæggets kommatering, er øvrige interpunktionstegn stiltiende indsat i tilfælde,– Within each song consistency of spelling ishvor mangelen på sådanne tegn ville væreaimed for.

meningsforstyrrende.

– The placing of commas in the source of thetext is only seldom corrected, but other punctuation marks are added tacitly in cases where

Disse principper medfører, at der kan være forskelle itheir absence might obscure the meaning.

tekstredaktionen af en sang, som optræder i forskel8

lige versioner i nærværende udgave.
As a result there may be differences in the appearance of the same text in a song that appears in various versions.

9Henvisninger til breve til Carl Nielsen er kun forsynet
med katalogsignatur i tilfælde, hvor brevet ikke kan
ﬁndes i en af følgende publikationer, til hvilke derReferences to letters to Nielsen are only given cata-således stiltiende henvises:

logue numbers in cases where the letter cannot befound in one of the following publications, to which

Torben Schousboe (udg.), Carl Nielsen. Dagbøger

readers are tacitly directed:

og brevveksling med Anne Marie Carl-Nielsen, København 1983 (breve mellem ægtefællerne).

Torben Schousboe (ed.), Carl Nielsen. Dagbøger
og brevveksling med Anne Marie Carl-Nielsen,

John Fellow (udg.), Carl Nielsen. Brevudgaven,

Copenhagen 1983 (correspondence between

9
København 2005-2009, dækkende årene 1886-

Nielsen and his wife).

1913.

John Fellow (ed.), Carl Nielsen. Brevudgaven,

7 Se Henrik Galberg Jacobsen og Mogens Gradenwitz (udg.), Komma – hvornår og hvorfor. En debatbog om kommatering, Dansk sprognævn 1993
(specielt s. 15-20), og P.K. Thorsen (udg.), Saabys
Retskrivningsordbog, Syvende Udgave, Kjøbenhavn
1918, s. 20-31.
8 Se f.eks. “Underlige Aftenlufte!” (nr. 90, 163, 309,
345 og 427), vers 1: vinke /vinker og bølge / bølger
samt vers 3: sælsom / selsom.
9 Bind, der foreligger ved udgivelsen. Breve fra Carl
Nielsen, der endnu ikke er gengivet i Brevudgavenvil, indtil noget sådant ﬁnder sted, kunne veriﬁceres ved henvendelse til Det Kongelige Bibliotek.

10
Copenhagen 2005-2009 (the complete lettersfrom 1886 up to and including 1913).

8 See Henrik Galberg Jacobsen and Mogens Gradenwitz (eds.), Komma – hvornår og hvorfor. En debatbog
om kommatering, Dansk sprognævn 1993 (especially pp. 15-20), and P.K. Thorsen (ed.), Saabys Retskrivningsordbog, 7th. edn., Copenhagen 1918, pp. 20-31.
9 See, for example, “Odd and unknown evening
breezes!” (Nos. 90, 163, 309, 345, and 427), verse 1:
vinke /vinker and bølge / bølger, and verse 3: sælsom /selsom.
10 Available volumes to date. Letters from Nielsen
not as yet published in the Brevudgaven may beconsulted only by application to the Royal Library, Copenhagen.

Carl Nielsen Udgaven CN 00051

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Henvisninger til breve fra Carl Nielsen er udelukkende forsynet med dato, idet de, indtil de vil foreligge ikommende bind af Brevudgaven, vil kunne ﬁndes ved
References to letters from Nielsen are only given a datehenvendelse til Det Kongelige Bibliotek. Dagbogsno-

when they do not as yet appear in the Brevudgaven,tater er ligeledes blot anført med dato, såfremt de er

and may be found by application to the Royal Library.

gengivet i en af ovennævnte to udgivelser.
Fødsel- og dødsår på forfattere til sangtekster

For diary entries the date alone is considered reference to the two above-named editions.

er anført i forfatterregistret s. 528-531.

Years of birth and death for authors of the songtexts are given in the Author Index, see pp. 528-531.

Redaktionens arbejde med Carl Nielsens sange og
deres reception i komponistens levetid har undervejs

The editorial work on Nielsen’s songs and their recep-

nydt godt af en række oplysninger fra John Fellow

tion in the composer’s lifetime has beneﬁtted signiﬁ-(brevhenvisninger m.m.), Knud Ketting (opførelses-

cantly from information supplied by John Fellow (re-data) og Knud Martner (værkregistrant); redaktionen

garding correspondence etc.), Knud Ketting (perform-skal herved udtale sin hjerteligste tak for denne hjælp.

ance data) and Knud Martner (work-list); the editors
wish to express their deepest gratitude for this help.

I fodnoterne anvendes følgende forkortelser for de
hyppigt citerede værker :List of short references for frequently quoted books:
Fellow (1999)
John Fellow, Carl Nielsen til sin samtid, København 1999

Fellow (1999)
John Fellow, Carl Nielsen til sin samtid, Copenhagen
1999

Fellow (2005)[bd. 1, 1886-1897]

Fellow (2006)[bd. 2, 1898-1905]

Fellow (2005)[Vol. 1, letters of 1886-1897]

Fellow (2007)[bd. 3, 1906-1910]

Fellow (2006)[Vol. 2, letters of 1898-1905]

Fellow (2008)[bd. 4, 1911-1913]

Fellow (2007)[Vol. 3, letters of 1906-1910]

John Fellow (udg.), Carl Nielsen. Brevudgaven, Køben-

Fellow (2008)[Vol. 4, letters of 1911-1913]

havn 2005-

John Fellow (ed.), Carl Nielsen. Brevudgaven, CopenFog og Schousboe (1965)

hagen 2005-

Dan Fog og Torben Schousboe (udg.), Carl Nielsen Kompositioner, København 1965

Fog & Schousboe (1965)
Dan Fog & Torben Schousboe (eds.), Carl Nielsen Kompo-

Hatt (2002)

sitioner, Copenhagen 1965

Emilie Demant Hatt, Foraarsbølger. Erindringer om Carl
Nielsen. Udgivet af John Fellow, København 2002

Hatt (2002)
Emilie Demant Hatt, Foraarsbølger. Erindringer om Carl
Nielsen. Edited by John Fellow, Copenhagen 2002

Meyer og Schandorf Petersen (1947-1948)
Torben Meyer og Frede Schandorf Petersen, Carl Niel-

Meyer & Schandorf Petersen (1947-1948)

sen. Kunstneren og Mennesket, København 1947-1948

Torben Meyer & Frede Schandorf Petersen, Carl Nielsen.
Kunstneren og Mennesket, Copenhagen 1947-1948

Carl Nielsen Udgaven CN 00051

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Møller og Meyer (1954)
Irmelin Eggert Møller & Torben Meyer (red.), Carl Nielsens Breve, København 1954
Møller & Meyer (1954)
Irmelin Eggert Møller & Torben Meyer (eds.), Carl

Schousboe (1983)

Nielsens Breve, Copenhagen 1954

Torben Schousboe (udg.), Carl Nielsen. Dagbøger og brevveksling med Anne Marie Carl-Nielsen, København 1983.

Schousboe (1983)
Torben Schousboe (ed.), Carl Nielsen. Dagbøger og brev-

Schousboe (1983-1984)

veksling med Anne Marie Carl-Nielsen, Copenhagen 1983

Torben Schousboe, booklet til Nielsen. Complete Works
for A Cappella Choir, Dacapo CD 368, 1983-84

Schousboe (1983-1984)
Torben Schousboe, booklet to Nielsen. Complete Works
for A Cappella Choir, Dacapo CD 368, 1983-1984

C A R LN I E L S E N S

S A N G E

De tidligste sange stammer fra konservatorietiden og

N I E L S E N ’ S

S O N G S

årene umiddelbart derefter i slutningen af 1880erne
og forblev utrykte; det gælder dels ﬁre sange for

The earliest songs date from Nielsen’s time at Copen-

mandskor (nr. 315-318), dels en række sange med

hagen Conservatoire and immediately after at the end

klaverledsagelse (nr. 214-221) til tekster fra digtsamlin-of the 1880s, and these remained unpublished. They10
gen Hundrede Digte, Vejviseren synger (J.S. Welhaven),

include four songs for male-voice choir (Nos. 315-318),

Den gamle Skovvei (Christian Richardt), Angst (Emila number of songs with piano (Nos. 214-221) from theAarestrup) samt “Alle de voksende Skygger” (J.P. Jacob-

11

collection Hundrede Digte, The Song of the Guide (J.S.

sen), sidstnævnte overleveret i materialet efter Carl

Welhaven), The Ancient Woodland Road (Christian Ri-

11
Nielsens ungdomskæreste, Emilie Demant. Her er

chardt), Anxiety (Emil Aarestrup), and “All the develop-

tale om ungdomsværker, der næppe er blevet offent-

ing shadows” (Jacobsen), the last of which is found in

ligt fremført i Carl Nielsens levetid.
De første trykte sange med klaver udkom

the legacy of Nielsen’s childhood sweetheart, Emilie
12

Demant. These youthful works were scarcely ever, if

i årene 1892-1897 som henholdsvis opus 4, opus 6

at all, performed in public in the composer’s lifetime.

(begge til tekster af J.P. Jacobsen) og opus 10 (til tek-

The ﬁrst printed songs with piano appeared in

12ster af Ludvig Holstein); for de ﬂestes vedkommende

1892-1897 as Op. 4, Op. 6 (both to texts by Jacobsen) andgennemkomponerede og med fuldt udskrevet klaver-13

Op. 10 (to texts by Ludvig Holstein); these are for the

akkompagnement. Her er således tale om egentlige

most part through-composed and with fully written-

kunstsange, uden at de kan siges at ligge i forlængelseout piano accompaniment. They are therefore genuine

af den danske romance-tradition, som den kendes hos

art-songs, even though they cannot be said to follow

f.eks. Peter Heise og Lange-Müller. Bortset fra enkelte

the line of the Danish romance tradition as repre-

isolerede tilfælde vendte Carl Nielsen ikke senere til-sented by, for example, Peter Heise and Peter Erasmus
Lange-Müller. With a few isolated exceptions, Nielsen

10 Hundrede Digte efter det engelske. Med biograﬁske
Notitser ved Caralis (pseudonym for C. Preetzmann), København 1867.
11 HA, UT 391 (når intet andet er anført ved en katalogsignatur, er underforstået DK-Kk). Disse otte
tidlige sange gengives i nærværende udgave somhenholdsvis nr. 214-221.
12 Nr. 1-16 i nærværende udgave.

never returned to this form of art- or concert song, and11 Hundrede Digte efter det engelske. Med biograﬁske
Notitser ved Caralis (pseudonym for C. Preetzmann), Copenhagen 1867.
12 HA, UT 391 (when no location is indicated, shelfmarks tacitly refer to DK-Kk). These eight earlysongs are printed in the present edition as Nos.
214-221.
13 Nos. 1-16 in the present edition.

Carl Nielsen Udgaven CN 00051

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bage til denne form for kunst- eller koncertsang, og
den resterende del af hans sangproduktion er i altvæsentligt præget af en enklere, mere “folkelig” stil,the remainder of his song output is in all essentials

der snarere forstår sig som funktionsbestemt brugs-

characterised by a simpler, more “folkelig” (folklike/

musik rettet mod fællessangen i skole og hjem end

popular) style, which may be understood as function-

13
mod kunstmusik til opførelse i koncertsalen. I det

al music for use, directed towards communal singing

hele taget blev betegnelser som “romance” og “Lied”

in the school or home, rather than as art music intend-

anvendt så bredt og upræcist gennem hele det 19.

14

15

ed for the concert hall. On the whole, designationsårhundrede i Danmark, at det næppe giver mening

such as “romance” and “Lied” were applied so broadly

at anvende dem i forbindelse med Carl Nielsens sang-and imprecisely throughout the 19th century in Den-produktion. Det skal dog i denne sammenhæng un-

mark that there is hardly any point in using them inderstreges, at der ikke kan trækkes en klar skillelinje

connection with Nielsen’s songs. Even so, it should be

mellem hans kunstsange og de “folkelige” sange.
I 1907 fulgte Carl Nielsens første samling medemphasised that no clear demarcation can be drawn
between his art songs and the “folkelige” songs.

bidrag til denne nye stil og i den genre, der siden skul-

In 1907 Nielsen published his ﬁrst collection

le blive hans hovedbidrag til den danske sanghistorie,of songs with his contribution to the new style and inden såkaldte “folkelige” sang; det drejer sig om Stroﬁ-

the genre that thereafter would become his principal

ske Sange opus 21 (nr. 20-26), og i årene mellem 1915 og

contribution to the history of Danish song: the so-

1925 fulgte en række milepæle inden for denne genre:called “folkelige” song. This collection was the Strophic

En Snes danske Viser fra 1915 og 1917 (nr. 87-109), Tyve

Songs Op. 21 (Nos. 20-26), and between 1915 and 1925

folkelige Melodier fra 1921 (nr. 125-144), bidragene til

there followed a series of milestones within this gen-

Folkehøjskolens Melodibog fra 1922 med tilhørende Tillæg

re: A Score of Danish Songs in 1915 and 1917 (Nos. 87-

fra 1927 (nr. 145-177 og 196-213), Fire folkelige Melodier109), Twenty “folkelige” Melodies in 1921 (Nos. 125-144),

fra 1925 (nr. 178-181) samt Ti danske Smaasange fra 1926

contributions to The Folk High School Songbook in 1922

(nr. 182-191). Med disse samlinger skabte Carl Nielsen

and to its Supplement in 1927 (Nos. 145-177 and 196-

et repertoire og en sangstil, som kom til at præge fæl-213), Four “folkelige” Melodies in 1925 (Nos. 178-181),

lessangen i Danmark de følgende år og frem til i dag.
En særlig gruppe udgøres af de mange sangeand Ten Little Danish Songs in 1926 (Nos. 182-191). With
these collections Nielsen created a repertoire and a

fra skuespillene, hvoraf en del har opnået samme

song-style that came to deﬁne communal singing instatus som mange af de egentlige “folkelige” sange;

Denmark in the following years and up to the present.

det drejer sig om sange fra Holger Drachmanns Hr.
Oluf han rider– (nr. 17-19), L.C. Nielsens Willemoes (nr.

14 The Danish word “folkelig”, which is includedin the title of several of Nielsen’s song collections, and which is important in connection withNielsen’s place in the history of Danish song,remains untranslated in this Preface, since it
has not been judged possible to ﬁnd an adequate
word in English. “Folkelig” applies both to “People” and to “Folk”, but cannot simply be translated “popular”, “folklike” or “folksy”. The word
characterises a number of common national anddemocratic attitudes and ideals in a broad crosssection of the Danish population (dominatedby the urban middle class and the rural population), and is to be seen in the context of thethinking of the poet, historian and pastor N.F.S.
Grundtvig and the so-called High School Movement in the second half of the 19th century.
15 A number of these simple songs were nevertheless also performed in concert by professional
singers (see below).

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 18

27-31), Ludvig Holsteins Tove (nr. 32-35), Jeppe Aakjærs
Ulvens Søn (nr. 36-37), Adam Oehlenschlägers Aladdin(nr. 112-114), Helge Rodes Moderen (nr. 117-124), Adam
Oehlenschlägers Hagbarth og Signe (nr. 228), Helge Rodes Prolog Shakespeare (nr. 237) samt Vilhelm From Bartrumsens Fra Rold til Rebild (nr. 274); hertil kan føjes

13 En række af disse enkle sange blev dog også opført af professionelle sangere ved koncerter (senedenfor).

18

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de to sange fra Kantate ved Grosserer-Societetets Hundredaarsfest (nr. 110-111). Til denne gruppe hører nogle af
de allermest kendte “folkelige” sange af Carl Nielsen:
A separate group is made up by the manyf.eks. “Havet omkring Danmark” (fra Willemoes), “Visongs from plays, of which several have achieved the

Sletternes Sønner” (fra Tove) samt “Min Pige er saa lys

same status as some of the actual “folkelige” songs;

som Rav” og “Som en rejselysten Flaade” (fra Moderen).

the songs in question are from Holger Drachmann’sOgså Salmer og aandelige Sange, der udkom i

Sir Oluf, he rides– (Nos. 17-19), L.C. Nielsen’s Willemoes

1919 (nr. 38-86), hører i en vis forstand med til grup-(Nos. 27-31), Ludvig Holstein’s Tove (Nos. 32-35), Jeppe

pen af folkelige sange; her bevægede Carl Nielsen sigAakjær’s The Wolf’s Son (Nos. 36-37), Adam Oehlen-

imidlertid ind på et område, hvor han næppe følte sig

schläger’s Aladdin (Nos. 112-114), Helge Rode’s The

helt hjemme, og det er da også kun et fåtal af hans

Mother (Nos. 117-124), Adam Oehlenschläger’s Hagbarth

salmemelodier, der efterfølgende har fundet deres

and Signe (No. 228), Helge Rode’s Prologue Shakespeare

faste plads i dansk kirkelig tradition.

14

Ved siden af de selvstændige samlinger for(No. 237), and to Vilhelm From Bartrumsen’s play
From Rold to Rebild (No. 274); in addition there are twosangstemme og klaver har Carl Nielsen efterladt sig

songs from the Cantata for the Centenary of the Chamber

ikke mindre end 73 enkeltsange for denne besætningof Commerce (Nos. 110-111). In this category are several(nr. 214-286). I kronologisk henseende dækker denneof Nielsen’s best-known “folkelige” songs: for exam-værkgruppe stort set hele Carl Nielsens løbebane somple, “Seas surrounding Denmark” (from Willemoes),

komponist, idet de tidligste som nævnt ovenfor stam-“We, sons of the plains” (from Tove), and “Like golden

mer fra slutningen af 1880erne, mens den senesteamber is my girl” and “There’s a ﬂeet of ﬂoating is-

er dateret 4. januar 1930. Der er tale om en meget

lands” (from The Mother).

broget kategori, som genremæssigt strækker sig fra

In some respects the Hymns and Spiritual Songs,

den helt enkle korte folkelige sang til store gennem-

which were published in 1919 (Nos. 38-86), also belong

komponerede kunstsange. Mange af sangene er ‘origi-

to this group of “folkelige” songs; here Nielsen was

nalkompositioner’ mens andre er komponistens egne

entering a ﬁeld in which he was not really at home,arrangementer af tidligere versioner for en anden

only a few of his hymn melodies subsequently estab-besætning. 43 af disse sange foreligger kun i manu-

16

lished a place in the Danish church tradition.

Alongside the various collections for voice

skript fra komponistens hånd, mens de øvrige alle
blev trykt i hans levetid.

and piano, Nielsen produced no fewer than 73 sepa-

En gruppe for sig udgøres af de enstemmige

rate songs (Nos. 214-286). In chronological terms thissange, hvoraf hovedparten blev skrevet eller arrange-

group of works covers more or less the whole of his

ret til Johan Borups Dansk Sangbog i 1916 og 1926.

composing career, in that the earliest, as mentioned
above, are from the end of the 1880s, while the latest

Som det er tilfældet med Carl Nielsens sange, stræk-is dated 4 January 1930. This is a highly diverse cat-ker også de mange korsatser sig over hele hansegory, extending in generic terms from simple little“folkelige” songs to large-scale, through-composed art

14 I Koralbog til Den danske Salmebog fra 2003 ﬁndes
fem melodier fra Salmer og aandelige Sange, nemlig nr. 50, 55, 56, 69 og 71 i nærværende udgave;
hertil kommer yderligere ﬁre melodier fra andre
samlinger (nr. 131, 137, 140 og 324).

songs. Many of the songs are “original compositions”,
while others are the composer’s own arrangements

16 In the Koralbog til Den danske Salmebog of 2003
there are ﬁve examples from the Hymns and Spiritual Songs, namely Nos. 50, 55, 56, 69 and 71 in thepresent edition; in addition there are four songs
from other Nielsen collections (Nos. 131, 137, 140
and 324).

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periode som komponist, fra studietidens tidlige
mandskorsange til de sene Tre Motetter fra 1929 og
kanonerne fra 1930. Hovedparten af korværkerne erof earlier versions for other vocal forces. 43 of thesearrangementer af egne sange i allerede publiceredesongs survive only in the composer’s manuscript cop-samlinger eller fra musikken til skuespil og kantater,ies, while the others were all printed in his lifetime.

hvortil kommer nogle lejligheds- og bestillingsværker.

In a category of their own are the single-line

Kun ganske få af korværkerne er skrevet så at sige af

songs, of which the majority were written or arranged

komponistens egen drift. En særlig gruppe udgør defor Johan Borup’s Danish Songbook in 1916 and 1926.

mange sange for lige stemmer, som er blevet til i forbindelse med Carl Nielsens pædagogiske bestræbelser

As with Nielsen’s many songs, his numerous choral

omkring en højnelse af sangen i skolen.
Bortset fra de store korpartier i operaerne og

pieces also extend over his entire composing career,from the early male-voice choir songs of his student

kantaterne Hymnus amoris og Søvnen foreligger der

years to the late Three Motets of 1929 and the Canons

ingen satser for blandet kor før 1906, hvor “Du dan-of 1930. The majority of the choral works are arrange-

ske mand!” udkom for både mandskor og blandetments of his own songs, from already published col-kor mere eller mindre i kraft af en tilfældighed som

lections or from his music for plays or cantatas, andfølge af en Tivoli-vaudevilles kommercielle succes (sefrom various occasional or commissioned works. Only

nr. 224 og 300). Herefter var der ofte bud efter korar-a very few of the choral works were written on therangementer af Carl Nielsens sange eller nye original-

composer’s initiative. A separate group is formed bykompositioner (herunder de tre motetter). De ﬂeste

the many songs for equal voices, composed in connec-

satser er arrangeret for standardbesætningen SATB;

tion with Nielsen’s pedagogic activity towards raising

der er dog enkelte satser uden sopran (“Kom, Guds-

the proﬁle of singing in the schools.

engel, stille Død” (nr. 303) og den første af de tre mo-

Apart from the large choral movements in his
operas, and in the cantatas Hymnus amoris and Sleep,

tetter, “Afﬂictus sum” (nr. 297)), og en enkelt sats forblandet kor uden bas (Sidskensang, nr. 301).

there are no pieces for mixed choir before 1906, whenDet var øjensynligt ikke kun ydre anlednin-“Sing, Danish man!” was published for both male andger, der ﬁk Carl Nielsen til at udarbejde korversioner

mixed choirs, more or less fortuitously as a result ofaf allerede eksisterende sange; på et tidspunkt tog

the commercial success of a Tivoli vaudeville (see Nos.

han også selv initiativ til at få udbredt sine sange

224 and 300). After this there was often a demand forgennem sådanne korarrangementer. Fra 1926 ken-choral arrangements of Nielsen’s songs or new originaldes et brev fra Carl Nielsen til musikforlægger Asger

compositions (including the Three Motets). Most of these

Wilhelm Hansen, hvor han foreslår en udgivelse forare for the standard SATB layout; there are, however, a

blandet kor af 13 viser og sange, alle tidligere udkom-

few pieces without soprano part (“Come, God’s angel,

met i En Snes danske Viser eller Tyve folkelige Melodier.

silent Death” (No. 303) and the ﬁrst of the Three Motets

I brevet henviser han til den efterspørgsel, der er for(No. 297)), and one without basses (Siskin Song (No. 301).

disse sange for korbesætning, en efterspørgsel, som

15

It seems that it was not only external factorsthat led Nielsen to make choral versions of already

15 Brev til Asger Wilhelm Hansen af 10.5.1926 (Wilhelm Hansens Arkiv, kasse 1926-27). I brevet foreslår Carl Nielsen korversioner af følgende sange:
nr. 87, 88, 89, 93, 109, 125-127, 129, 131, 133, 139
og 143.

existing songs; at one time he also took the initiative
himself to disseminate his songs through such arrangements. In a letter of 1926 to the music publisher
Asger Wilhelm Hansen, he proposed a publication formixed choir of 13 songs, all of which had earlier ap-

Carl Nielsen Udgaven CN 00051

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han gerne vil efterkomme. Forlaget fulgte dog ikke op
på opfordringen, og ingen af de i brevet nævnte sangeudkom for kor i komponistens levetid.
Et enkelt sted udtaler Carl Nielsen sig i ret

peared in A Score of Danish Songs or Twenty “folkelige” Melo17

dies. Here Nielsen pointed to the demand for choral

bastante vendinger om sit forhold til “mandssang” ogversions of these songs, which he would be happy to“korsang” – klart til fordel for sidstnævnte kategori:meet. The publishers did not follow up the suggestion,
however, and none of the songs named in Nielsen’s let-

“Der ﬁndes baade i Danmark, Norge og Sverige godeter were published in this form in his lifetime.

Mandskor. Men jeg vil dog alligevel sige: Tag Kvin-

In one place Nielsen expressed his attitude

derne med og dan ﬂere blandede Kor, for jeg tror det

to “male-voice singing” and “choral singing” in quite

vil blive Fremtidens Løsen […] Vi er jo ogsaa ude oversweeping terms, with a clear preference for the latter:de Tider, hvor Mændene drak i den ene Stue og Kvinderne strikkede i den anden. I Norge og Danmark har“In Denmark, Norway and Sweden there are good

Kvinderne nu faaet Stemmeret, det har vi Lov til at

male-voice choirs. All the same I should like to pro-være stolte over og nu bør vi Mænd og Kvinder synge

pose: include women and establish many more mixed

sammen saa højt og smukt at Folkene i andre Landechoirs, because this is where I believe the future lies

skal ‘undres derpaa’.
Altsaa: Mandssang, fortræffeligt; men blandet[…] We are past the time where men drank in one
room and women did their knitting in another. In Nor-

16

Kor endnu bedre!”

way and Denmark women now have the vote, which
we should be proud about, and now we men and wom-Carl Nielsens sange blev hurtigt udbredt i samtiden;en should sing together, so loudly and beautifully thatde ﬂeste blev trykt enten i forskellige tidsskrifter med

people in other countries should ‘wonder at it’.

tilknytning til højskolen, eller de udkom som enkelt-

So: male-voice singing, excellent; but mixed
18

tryk eller i samlinger og sangbøger. Ikke mindst
Højskolesangbogen, Melodier til Sangbogen ‘Danmark’choirs, even better!”og Johan Borups Dansk Sangbog sikrede dem vid udNielsen’s songs were rapidly disseminated in his day;bredelse. Hovedforlægger for disse forskellige trykte

most were published either in various journals asso-

udgaver af sangene – som af Carl Nielsens værker i

ciated with the High Schools, or else they appeared

det hele taget – var Wilhelm Hansens Musikforlag.

as separate prints or in collections and songbooks.

Selvom langt fra alle Carl Nielsens op mod 300 for-

They were assured a broad circulation not least by theskellige sange har holdt sig i en levende tradition

High School Songbook, the Melodies for the Songbook

frem til i dag, indtager dog en gruppe på op mod 50‘Denmark’, and Borup’s Danish Songbook. The main pub-sange en central plads i det repertoire, der i dag går

lisher of these various printed editions of the songs

under den upræcise betegnelse “den danske sang-– as of Nielsen’s works as a whole – was Wilhelmskat”. Med udgivelsen af samtlige sange af Carl Niel-

Hansens Musikforlag. Even though far from all ofNielsen’s nearly 300 songs still have a place in a living

16 Julegranen. Utgit av Kristiania Arbeidersamfunds
Sangforening, [1915], s. 45 (kopi i DK-Kk, CNU, gengivet uden kildeangivelse i Fellow (1999), s. 633.

tradition today, a group of something like 50 occupy

17 Letter to Asger Wilhelm Hansen of 10.5.1926 (Wilhelm Hansens Arkiv, kasse 1926-27); here Nielsen
proposed choral versions of the following songs:
Nos. 87, 88, 89, 93, 109, 125-127, 129, 131, 133,
139, 143.
18 Julegranen. Utgit av Kristiania Arbeidersamfunds
Sangforening, [1915], p. 45 (copy in DK-Kk, CNU
reproduced without indication of source in Fellow (1999), p. 633).

Carl Nielsen Udgaven CN 00051

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sen er det muligt at sætte dette kærnerepertoire indi en større sammenhæng som en del af hans samlede
produktion og danne sig et billede af Carl Nielsen
a central place in the repertoire nowadays designatedsom sangkomponist i dets fulde bredde. Ikke mindst(imprecisely) as “the Danish song treasury”. With thei forhold til en udbredt diskussion om dansk identi-

present publication of Nielsen’s complete songs, it is

tet og Carl Nielsens bidrag til en sådan spiller disse

possible to locate this core repertoire within a larger

sange en vigtig rolle; ligeledes kan de nu under étcontext, as part of his complete output, and to gain astuderes som den ene pol i modstillingen mellem det

a full panorama of Nielsen as song composer. Just aspåståede “enkle” og det påståede “komplicerede” hosthe songs can now be studied as a whole, as one pole

Carl Nielsen.

in the dichotomy between the allegedly “simple” and“complicated” in his output, so they also play an im-

Efterfølgende redegørelse for sangene er disponeretportant role in the broader discourse concerning Dan-således:

ish identity and Nielsen’s contribution to it.
I. SANG OG KLAVER (nr. 1-286)
A. Samlinger (nr. 1-213)

The following discussion of the songs is laid out as

Musik til Fem Digte af J. P. Jacobsen, opus 4 og Viserfollows:

og Vers af J.P. Jacobsen, opus 6 (nr. 1-10)
Sange af Ludvig Holstein, opus 10 (nr. 11-16)

I. SONGS WITH PIANO (Nos. 1-286)

Stroﬁske Sange, opus 21 (nr. 20-26)

A. Collections (Nos. 1-213)
Jens Peter Jacobsen Songs Op. 4 and Op. 6 (Nos. 1-10)

Sange fra skuespil og lejlighedskantater (nr. 17-

Ludvig Holstein Songs (Nos. 11-16)

19, 27-37, 110-114, 117-124, 228, 237 og 274)

Strophic Songs, Op. 21 (Nos. 20-26)

Salmer og aandelige Sange (nr. 38-86)

Songs from plays and cantatas (Nos. 17-19, 27-37,

To aandelige Sange (nr. 115-116)

110-114, 117-124, 228, 237 and 274)

En Snes danske Viser 1915 og 1917 (nr. 87-109)

Hymns and Spiritual Songs (Nos. 38-86)

Tyve folkelige Melodier (nr. 125-144)

Two Spiritual Songs (Nos. 115-116)

Folkehøjskolens Melodibog (nr. 145-177; Tillæg: nr.

A Score of Danish Songs 1915 and 1917 (Nos. 87-109)

196-213)

Twenty “folkelige” Melodies (Nos. 125-144)

Fire folkelige Melodier (nr. 178-181)

The Folk High School Melody Book (Nos. 145-177; Sup-Ti danske Smaasange (nr. 182-191)

plement; Nos. 196-213)

Fire jydske sange til tekster af Anton Berntsen (nr.
192-195)

Four “folkelige” Melodies (Nos. 178-181)

B. Enkeltsange (nr. 214-286)

Ten Little Danish Songs (Nos. 182-191)
Four Songs in Jutland Dialect to Texts by Anton Bernt-

II. RECITATION OG KLAVER, KOR OG KLAVER, SANG

sen (Nos. 192-195)

OG INSTRUMENTALENSEMBLE (nr. 287-292)

B. Separate Songs (Nos. 214-286)
II. RECITATION AND PIANO, CHOIR AND PIANO,

III. KOR A CAPPELLA (nr. 293-400)
A. Blandet kor (nr. 293-314)

VOICE AND INSTRUMENTAL ENSEMBLE (Nos.

a. Samlinger (nr. 293-299)

287-292)

b. Enkeltsange (nr. 300-314)
B. Mandskor (nr. 315-332)

III. A CAPPELLA CHOIR (Nos. 293-400)
A. Mixed Choir (Nos. 293-314)
a. Collections (Nos. 293-299)
b. Separate Songs (Nos. 300-314)
B. Male Choir (Nos. 315-332)

Carl Nielsen Udgaven CN 00051

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C. Lige stemmer (nr. 333-400)
a. Samlinger (nr. 333-382)
Melodier til Sangbogen ‘Danmark’ (nr. 333-376)
Kanoner (nr. 377-382)

C. Equal Voices (Nos. 333-400)

b. Enkeltsange (nr. 383-400)

a. Collections (Nos. 333-382)
Melodies for the Songbook ‘Denmark’ (Nos. 333-376)

IV. SANG UDEN LEDSAGELSE (nr. 401-423)

Canons (Nos. 377-382)

A. Samlinger (nr. 410-416)

b. Separate Songs (Nos. 383-400)

Nye Melodier til Johan Borups Dansk Sangbog (nr.
401-416)

IV. UNISON SONGS (Nos. 401-423)

B. Enkeltsange (nr. 417-423)

A. Collections (Nos. 410-416)
New Melodies for Johan Borup’s Danish Songbook

V. APPENDIKS (nr. 424-431)(Nos. 401-416)
B. Separate Songs (Nos. 417-423)
V. APPENDIX (Nos. 424-431)

I. SANG OG KLAVER (nr. 1-286)

I. SONGS WITH PIANO (Nos. 1-286)

A. Samlinger (nr. 1-213)
Musik til Fem Digte af J. P. Jacobsen, opus 4 og Viser
og Vers af J.P. Jacobsen, opus 6 (nr. 1-10)

A. Collections (Nos. 1-213)
Jens Peter Jacobsen Songs Op. 4 and Op. 6 (Nos. 1-10)

En række kilder dokumenterer, hvordan Carl Niel-

A number of sources document Nielsen’s absorption

af 1880erne og frem til 1893 løbende var optaget af

in and work with music to Jens Peter Jacobsen’s po-arbejdet med musik til J.P. Jacobsens digte. Blandt

etry in the years after his conservatoire studies, from

Emilie Demant Hatts papirer ﬁndes den aldrig trykte

the end of the 1880s to 1893. Among Emilie Demant“Alle de voksende Skygger” (nr. 220) i autograf og en

Hatt’s papers is found an autograph of the unpub-

afskrift af Solnedgang, der senere indgik som den før-

lished “All the developing shadows” (No. 220) and a17
ste sang i opus 4. I et længere brev til Emilie fra for-copy of Sunset, which would later become the ﬁrståret 1888 – måske skrevet i forlængelse af arbejdet på19

sen i årene efter konservatorietiden i slutningensong in Op. 4. In a lengthy letter to Emilie of spring

disse to sange – gør Carl Nielsen rede for sine tanker

1888 – perhaps written as a continuation of his work

omkring det at sætte musik til et digt. Her beretteron these two songs – Nielsen expresses his thoughts

han om, hvordan han er begyndt at studere de tyske

on setting poetry to music. He reports how he has be-

komponister “for at lære af dem, hvorledes man be-

gun to study the work of German composers, “in or-

handler et Digt”; efter at have afvist Beethovens og

der to learn from them how to treat a poem”; having

Mozarts indsats på dette felt fortsætter han:dismissed Beethoven’s and Mozart’s contributions in“Saa fremstod Schubert. Han læste sin Text atter og

this area he goes on:

atter igjennem, indtil han var hèlt gjennemtrængt af“Then Schubert appeared. He read his text throughDigtets Aand og Stemning, og saa skrev han sin dej-

over and over again, until he was completely saturat-

lige Musik dertil. Han opfandt den Kunst at gjennem-

ed with the poem’s spirit and mood, then he set his
beautiful music to it. He invented the art of through-17 Se Hatt (2002), s. 9, 48, 66-67, hvor den unge Carl
Nielsens optagethed af J.P. Jacobsen er dokumenteret.

19 See Hatt (2002), pp. 9, 48, 66-67, where the young
Nielsen’s interest in Jacobsen is documented.

Carl Nielsen Udgaven CN 00051

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componere et Digt, d.v.s. sætte Musik til hele Digtet,
ikke som forhen, at hvert Vers gik paa samme Melodi.
Herved ﬁk hvert eneste Ord i Digtet sin Betydning og
composing a poem, i.e. setting music to the entire

Digterens Tanke kunde faa det højeste Udtryk gjen-

poem, not as before with each verse ﬁtted to the samenem Musiken; hvorimod man tilforn betragtede Tex-

melody. By this means every single word in the poem

ten som noget aldeles Underordnet.”

18

acquired its own meaning, and the poet’s thoughtreceived the highest expression through the mu-

Her afviser Carl Nielsen så at sige den stroﬁske form,

sic; whereas beforehand the text had been viewed assom han siden skulle vende tilbage til, med henvis-

something quite subordinate.”

20

ning til tekstens betydning.
I August 1890 – altså allerede to år inden udgi-

Here Nielsen rejects, as it were, the strophic form thatvelsen af sangene i opus 4 – blev Solnedgang sunget af

he would later return to, with respect to the meaning

19
Oda Nielsen ved en koncert i Odense; endvidere for-of the text.

tæller Carl Nielsens gamle lærer Orla Rosenhoff en halv

In August 1890 – two years before the publi-

snes år senere i et brev til Knud Harder om, hvordan

cation of the songs in Op. 4 – Sunset was sung by Oda

han fulgte en række af de tidligste kompositioner og så

21
Nielsen at a concert in Odense; in addition Nielsen’s

dem “vokse op fra Udkast til de blev fuldførte”, endnu

old teacher Orla Rosenhoff reported some ten years

mens Carl Nielsen var elev hos Rosenhoff, og inden hanlater in a letter to Knud Harder how he had followed

tog ud på sin første store dannelsesrejse i 1890-1891;

the progress of a number of Nielsen’s early composi-

blandt disse tidlige værker nævner Rosenhoff udtrykke-tions and saw them “grow from sketches to full reali-

ligt “nogle sange” – formentlig de her omtalte J.P. Ja-

sation”, from the time the composer was still study-

20
cobsen sange. Og endelig kan det nævnes, at Carl Niel-ing with him up to his ﬁrst European educationalsen og Anne Marie Carl-Nielsen i 1891 valgte at opkalde

trip in 1890-1891; among these early works Rosenhoff

deres første barn Irmelin efter kongedatteren i J.P.

expressly points to “some songs” – presumably the

Jacobsens digt Irmelin Rose. Der er således fyldigt belæg

22
Jacobsen songs. Finally it may be noted that in 1891

for komponistens intensive beskæftigelse med digte af

Nielsen and his wife Anne Marie Carl-Nielsen chose

J.P. Jacobsen i årene forud for udgivelsen af sangene.
I sommeren 1892 udkom de fem sange med

to call their ﬁrst child Irmelin, after the princess in
Jacobsen’s poem Irmelin Rose. There is therefore ample

titlen Musik til Fem Digte af J. P. Jacobsen som opus 4 hosevidence for the composer’s intensive engagement

Wilhelm Hansens Musikforlag, tilegnet hustruen,

with Jacobsen’s poetry in the years preceding publica-21
som også havde udarbejdet omslaget. Oprindeligt

tion of the songs.

skulle samlingen have bestået af seks sange, men kort

In the summer of 1892 the ﬁve songs entitled Music to Five Poems by Jens Peter Jacobsen, Op. 4 were

18 Brev til Emilie Demant, 3.5.1888.
19 Jf. Fellow (2005), s.108. På programmet stod i øvrigt bl.a. en violinromance, Polonaise af Wieniawski spillet af Carl Nielsen og en sang fra Griegs
Peer Gynt.
20 Brev af 3.3.1905.
21 Iﬂg. Wilhelm Hansens stikkerbog blev pladerne
stukket i løbet af foråret 1892, og 10.10.1892
anmoder Carl Nielsens bror Anders i et brev fra
Chicago om at få tilsendt et eksemplar af den
trykte node.

published by Wilhelm Hansens Musikforlag, with adedication to the composer’s wife, who also made the23

cover design. Originally the collection was to have

20 Letter to Emilie Demant, 3.5.1888.
21 Cf. Fellow (2005), p.108. The programme also included, amongst other things, a violin romance,
Wieniawski’s Polonaise played by Nielsen and asong from Grieg’s Peer Gynt.
22 Letter of 3.3.1905.
23 According to Wilhelm Hansen’s engravers’ book,the plates were engraved during the spring of1892, and in a letter of 10.10.1892 from Chicago,
Nielsen’s brother Anders requests a copy of the
publication to be sent to him.

Carl Nielsen Udgaven CN 00051

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før trykningen (mens korrekturlæsningen allerede
var i gang) tilbagekaldte Carl Nielsen den første sang,
I Drømmenes Land (nr. 222), fordi han fandt, at man
consisted of six songs, but shortly before their print-

deri i for høj grad kunne høre inspirationen fra Wag-ing, while the proofs were already being read, Nielsen

ner, således som han et par år senere fortalte i en lillewithdrew the ﬁrst song, The Realm of Dreams (No. 222),

selvbiograﬁsk skitse:

because he found it to be too clearly inspired by Wagner, as he himself reported a few years later in a short“I en eneste af mine Kompositioner (et større Digt af

autobiographical sketch:

Jacobsen) har jeg kunnet spore Wagners Aand; menda det gik op for mig, bad jeg min Forlægger – som“In just one of my compositions (setting of a long poem

havde kjøbt og stukket den – lade være at udgive den

by Jacobsen) I can identify the spirit of Wagner; but

og nu ligger Korrekturen i min Skuffe.”

22

when I realised this I asked my publisher – who had
Allerede et år efter udgivelsen af opus 4 – måske i for-already purchased and made the engraving – to with24

draw it, and now I have the proof copy in my drawer.”bindelse med arbejdet på det nye hæfte med Jacobsen
sange, opus 6 – komponerede Carl Nielsen ifølge etAccording to a diary entry, within a year after thedagbogsnotat en ny melodi til samlingens første sang,publication of Op. 4, perhaps in connection with his

Solnedgang (nr. 424).

23

work on the new volume of Jacobsen songs, Op. 6,
Nielsen composed a new setting of the ﬁrst of the25

Anmelderne havde allerede haft mulighed for at høre
ﬁre af de fem sange ved en såkaldt Komponist-Soiré

songs, Sunset (No. 424).

24
den 28. april 1892 forud for udgivelsen, formentlig

Reviewers had already had the opportunity to heararrangeret af komponisten selv. Det er tydeligt, atfour of the ﬁve songs of Op. 4 before their publica-

sangene virkede fremmedartede og ikke umiddelbart

26tion, at a “Composer’s Soirée” on 28 April 1892, pre-faldt i anmeldernes smag. Dog fremhæves Irmelin Rose,sumably arranged by Nielsen himself. It is clear thatder blev sunget da capo, og I Seraillets Have, netop to af

the songs made a curious impression and were notde sange, der efterfølgende blev hyppigst opført i Carl

immediately to the critics’ taste. Even so, Irmelin Rose,

Nielsens levetid. Berlingske Tidende hæfter sig ved ordet

which was sung as an encore, and In Seraglio Garden“Digte” i titlen frem for det mere nærliggende “Sange”:

were singled out, and these were also the two songs
that were subsequently to be most often performed in“Mellem disse to større Værker [kvartet og kvintet]

the composer’s lifetime. Berlingske Tidende fastened on

hørtes den talentfulde unge Componists Forsøg paa

to the word “Digte” (poems) in the title, as opposed to

et Omraade, som han ikke vides tidligere at have be-

the more usual “Sange” (songs):

traadt. ‘Musik til ﬁre Digte af J.P. Jacobsen’ kalder“Between these two large works [quartet and quintet]

22 Brev til William Behrend af 11.3.1895. Sangen er
overleveret i et korrekturark fra Wilhelm Hansen(MS 33 2114).
23 MS 33 2202 og MS 33 2004; dagbogsnotat af
25.5.1893.
24 Af de fem sange fra opus 4 manglede ved koncerten Til Asali. De øvrige værker på programmet var
Strygekvartet, opus 5, Strygekvintet samt Fantasistykker for obo og klaver, opus 2.

we heard the talented young composer’s essays in aﬁeld he is not known previously to have cultivated. He

24 Letter to William Behrend of 11.3.1895. The songsurvives in a proof copy of Wilhelm Hansen (MS33 2114).
25 MS 33 2202 and MS 33 2004; diary entry for25.5.1893.
26 Of the ﬁve songs in Op. 4, To Asali was omitted.
The remaining works on the programme werethe String Quartet, Op. 5, the String Quintet, andthe Fantasy Pieces for Oboe and Piano, Op. 2.

Carl Nielsen Udgaven CN 00051

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han sit nye Arbeide. Det er sikkert med Hensigt,
at han ikke bruger Ordet Sange. Han har ikke villet love, hvad han ikke har været vis paa at kunne
has called his new work ‘Music to Four Poems by J.P.

holde. Det er ganske vist mere Musik end Sange […].

Jacobsen’. Obviously he has intentionally avoided theDer er ﬁne Træk, ogsaa Poesi i denne Musik for enword ‘songs’. He did not wish to promise what he was

Sangstemme og Claveer, men man maa dog haabe, at

uncertain of being able to deliver. These were certain-

det ikke er denne Vei, der skal vandres i Fremtiden.

ly more music than songs [...]. There are ﬁne qualities,

Sangen er længe nok sat tilside, men alle Forsøg paa

and also poetry, in this music for voice and piano, but

at erstatte en manglende melodisk Aare, Evnen til at

we may hope that this is not the path he will go downskabe vocal Virkning, ved noksaa sindrige decorative,

in future. The song has too long been sidelined, buteller som Componisten indbilder sig illustrerende

all attempts to replace the lack of a melodic vein (theSnurrepiberier paa Claveret, ville stedse vise sig at

gift for creating a vocal effect) by decorative or – asvære dødfødte.”

25

the composer imagines – illustrative curiosa on the
piano, however ingenious they may be, will alwaysOgså Dagens Nyheder forholder sig til genrebegrebet

27

og ser valget af titel som en form for distance til den

turn out to be stillborn.”gængse romancetradition:
Dagens Nyheder also discussed the genre concept andinterpreted the choice of title as a form of distancing“En Nyhed var ‘Musik til ﬁre Digte af J.P. Jacobsen’,from the contemporary romance tradition:en Titel, der vel skal antyde, at man ikke her maa anvende det almindelige Romance-Synspunkt, at Kom-

“A novelty was the ‘Music to Four Poems of J.P. Jacob-

ponisten vil være fritaget for saadanne Indvendinger,sen’, a title that probably indicates that we should not

som at her mangler Sangbarhed eller Melodi, eller at

use the usual criteria of the ‘romance’, that the com-

Akkompagnementet er for dominerende o.s.v. o.s.v.

poser wishes to free himself from objections such as

Om denne Musikform, der vel skal være en Mellem-that his work lacks singability or melody, or that theting mellem Deklamation og Sang, har en Fremtid foraccompaniment is too obtrusive, and so on. Whether

sig, faaer staa hen.”26

this form of music, which is presumably supposed tobe something in between declamation and singing,28

has any future, remains to be seen.”

I det følgende år udsendte Carl Nielsen endnu ethæfte med fem sange til tekster af J.P. Jacobsen, dennegang under titlen Viser og Vers af J.P. Jacobsen, opus 6,

The following year Nielsen published another vol-27
tilegnet dr.phil. Rudolph Bergh og på ny med enume of ﬁve songs to Jacobsen texts, this time underforside tegnet af hustruen Anne Marie. Det vides ikke,

the title Songs and Verses by Jens Peter Jacobsen, Op. 6,

om sangene fra opus 6 er blevet til sideløbende med

29

dedicated to dr.phil. Rudolph Bergh and once again

arbejdet på den forrige samling, eller om de først er

with a cover designed by his wife, Anne Marie. It ispåbegyndt efter afslutningen af opus 4. Det er blevet

not known whether the Op. 6 songs were composedhævdet, at Genrebillede blev til på Carl Nielsens og

at the same time as the previous collection or only

Anne Maries bryllupsrejse i Italien i foråret 1891.

28

afterwards. It has been claimed that Genre Painting
was written during Nielsen’s honeymoon with Anne
Marie in Italy, in the spring of 1891.

25 Berlingske Tidende (Aften), 29.4.1892.
26 Dagens Nyheder, 30.4.1892.
27 I senere udgaver af sangene blev tilegnelsen,
uvist af hvilken grund, fjernet.
28 Steen Steensen, Musik er liv. En biograﬁ om Carl Nielsen, København 1999, s. 283.

30

27 Berlingske Tidende (Aften), 29.4.1892.
28 Dagens Nyheder, 30.4.1892.
29 In later editions of the songs the dedication wasomitted, for reasons unknown.
30 Steen Steensen, Musik er liv. En biograﬁ om Carl Nielsen, Copenhagen 1999, p. 283.

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Udgivelsen af Viser og Vers af J.P. Jacobsen gav
anledning til en hvas artikel i Dannebrog skrevet af Robert Henriques. Efter en yderst positiv omtale af nogle
The publication of Songs and Verses by Jens Peter
Jacobsen occasioned a caustic article by Robert Hen31

af Carl Nielsens tidligere arbejder går anmelderen tætpå de nye sange. Der tales om, “at Carl Nielsen, langtriques in Dannebrog. After a highly positive discus-

fra at afklare sig, tværtimod er begyndt at reﬂekteresion of some of Nielsen’s earlier works, the reviewer

og med Flid undgaa alt, hvad der klinger naturligt

went into detail about the new songs: “Far from clari-[…] han vil med andre ord […] være original, kompo-

fying himself, Nielsen has on the contrary begun tonere anderledes end alle andre”. Anmelderen ﬁnder

reﬂect, and as a result conscientiously to avoid every-“at Carl Nielsen for det meste har taget altfor tungt

thing that sounds natural [...] in other words he wish-

paa de i Forvejen saa tanketunge Jacobsenske Digte”.

es [...] to be original, to compose differently from any-

Og han slutter med følgende, næsten profetiske be-one else.” According to Henriques, “Nielsen has formærkning: “Ad den i disse Sange antydede Vej lykkes

the most part made Jacobsen’s already tightly packed

det ham i hvert Tilfælde ikke at berige vor nationale

poems even denser” And he concluded with the fol-

Sangliteratur”.

29

Anderledes positive toner anslås af Edvard

lowing, almost prophetic remark: “In any case, following the path set out in these songs, he will not suc-Grieg; Carl Nielsen havde i begyndelsen af 1894

ceed in enriching our national song literature.”

sendt en række af sine arbejder til komponistkol-

Edvard Grieg struck a different, more posi-

legaen, og denne svarede tilbage, at det havde været

tive note; at the beginning of 1894 Nielsen had sent a

ham “en stor Glæde at stifte Bekendtskab med [...]

number of his works to his composer-colleague, andﬂere af Sangene, f. Ex. ‘Genrebillede’ og ‘Det bødes

Grieg responded that it had been “a great pleasure to

der for’”.

30

make the acquaintance of [...] several of the songs, for

Selvom et par af sangene havde været opført

example ‘Genre Painting’ and ‘You suffer throughout

tidligere, gik der to år før opus 6 ﬁk sin første sam-

32

lede opførelse.

an age of pain’”.

Even though a couple of the songs had previously been heard, two years passed before Op. 6
33

31

Det skete ved en koncert i foreningen

Symphonia den 4. maj 1895, hvor sangene blev sunget
af Julie Gundestrup. Flere af anmelderne opfattedeThis took

disse sange som en lettelse efter først at have påhørt

place at a concert in the society Symphonia on 4 May

Symphonisk Suite for klaver. Efter en længere omtale

1895, when they were sung by Julie Gundestrup. Sev-af klaversuiten hvor Carl Nielsens “Ringeagt for ‘dieeral reviewers received these songs with relief after

zärtlichen Herzen’ [...] synes at gaae noget for vidt”,

the Symphonic Suite for piano they had just heard. Fol-fortsætter Berlingske Tidende:

received its ﬁrst complete performance.

32

lowing a lenghty discussion of the Suite, in which it
was suggested that Nielsen’s “Disdain for ‘die zärtli-

29 11.6.1893.
30 Brev af 18.1.1894.
31 Vise af ‘Mogens’ (nr. 10) blev opført 18.2.1895 i Den
kgl. Skydebanes Festsal, hvor Carl Nielsen selv
var tilstede, og et par uger senere (2.3.1895) blev
“Silkesko over gylden Læst” (nr. 8) opført i Koncertpalæet.
32 Berlingske Tidende (Aften), 6.5.1895. Bemærkningenom “die zärtlichen Herzen” hentyder til mottoet
for Symphonisk Suite.

chen Herzen’ [...] seems to have gone too far”, Berlingske Tidende went on:

34

31 11.6.1893.
32 Letter of 18.1.1894.
33 Lay from ‘Mogens’ (No. 10) was performed on
18.2.1895 in the Gala Hall of the Royal Shooting Range, where Nielsen himself was present,
and two weeks later (2.3.1895) “Silken shoe overgolden last” (No. 8) was performed at the Koncertpalæ.
34 Berlingske Tidende (Aften), 6.5.1895. The comment
about the “tender hearts” (die zärtlichen Herzen)
refers to the motto for the Symphonic Suite.

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“Heldigviis ﬁk man af hans fem Sange (Digte af J.P.
Jacobsen), hvormed Concerten sluttedes, Beviis for, at
Carl Nielsen dog ogsaa kan føle Trang til at fange Mu“Fortunately, in the ﬁve songs (Poems by Jacobsen)

sikelskeres Hjerter. Frøken Julie Gundestrup udmær-with which the concert ﬁnished, we had proof thatkede sig ved et smukt, varmt Foredrag af disse Sange.”

Nielsen can also feel an urge to win the music-lover’s
heart. Miss Julie Gundestrup distinguished herself

Nationaltidende indtager et lignende standpunkt:with a beautiful, warm account of these songs.”“Hvad der hos Carl Nielsen har Interesse, hans særlige
Kunstnerfysiognomi og hans Selvstændighedsdrift,

Nationaltidende took a similar line:

kom langt smukkere og ikke mindre tydeligt frem ved“What is interesting about Nielsen – his special ar-hans Sange til J.P. Jacobsens Texter. De indeholde ﬁnetistic proﬁle and his search for originality – cameog eiendommelige Stemninger, f. Ex. den ganske egen-across far more beautifully and no less clearly in his

artede lille Sang ‘Seraferne’ eller ‘Det bødes der for’,songs to Jacobsen texts. These contained subtle char-hvilken sidste blot, ogsaa for Deklamationens Skyld,

acteristic moods, for example the curious little songikke taaler at repeteres for alle de ﬁre Vers.”

33‘The Seraphim’ and ‘You suffer throughout an age of
pain’, which latter, however, not least in respect of its

På et tidspunkt i løbet af efteråret og vinteren 1894-

declamation, did not bear repetition for all four of1895 udgav Wilhelm Hansen et udvalg af sangene fra

its verses.”

35

opus 4 og opus 6 i tysk oversættelse med titlen Lieder
34
von J.P. Jacobsen. Samlingen indeholder tre sange fra

At some point during the autumn and winter of 1894-

opus 4 (“Im Garten des Serails”, “Irmelin Rose” og

1895 Wilhelm Hansen published a selection of songs“Und wenn der Tag all’ Sorg und Qual” (nr. 2, 4 og 5))

from Op. 4 and Op. 6 in German translations, with theog tre sange fra opus 6 (“Genrebild”, “Seid’ner Schuh36
title Lieder von J.P. Jacobsen. The collection includesüber Leisten von Gold!” og “Dafür wird gebüsst” (nr.

three songs from Op. 4 (“Im Garten des Serails”, “Irme-

6, 8 og 9)). Udgivelsen ﬁk en noget lunken modtagelselin Rose” and “Und wenn der Tag all’ Sorg und Qual”

i Allgemeine musikalische Zeitung, hvor det generelle(Nos. 2, 4 and 5)) and three from Op. 6 (“Genrebild”,

indtryk er, at “nur wenige der Gedichte hinterlassen“Seid’ner Schuh über Leisten von Gold!” and “Dafürdeshalb, trotz vieler Einzelschönheiten, wirkliche

wird gebüsst” (Nos. 6, 8 and 9)). The publication re-ästhetische Befriedigung.” Kun Genrebillede anses forceived a somewhat lukewarm review in Allgemeine

35
helt vellykket. I den forbindelse blev der foretaget enmusikalische Zeitung, where the general impression was

del små ændringer, ikke kun som følge af stavelsesfor-that “despite many beautiful details, only a few of thedelingen, men også detaljer som for eksempel ﬁnger-

poems were fully satisfying aesthetically”. Only Genresætning blev tilføjet. Disse ændringer indarbejdedes

37

Painting was considered completely successful. In con-i senere genoptryk af de danske versioner af opus 4

nection with the German edition a number of minor

og opus 6, og derfor er genoptrykket fra henholdsvis

alterations were made not only as a consequence of the1920 af opus 4 og 1923 af opus 6, som er det sidste itext underlay, but also because of the addition of ﬁnger-

komponistens levetid, valgt som hovedkilder for nær-ings and other details. The alterations were incorporat-værende udgave.

ed in later reprints of Danish versions of Op. 4 and Op.
6, and therefore the reprints of 1920 and 1923, for Op. 4

33 Nationaltidende, 7.5.1895.
34 Wilhelm Hansens stikkerbog, Pl. nr. 11597.
35 Allgemeine musikalische Zeitung, 22.11.1895.

and Op. 6 respectively, which are the last in the composer’s lifetime, are chosen as the principal sources.

35 Nationaltidende, 7.5.1895.
36 Wilhelm Hansen’s engravers’ book, Pl. No. 11597.
37 Allgemeine musikalische Zeitung, 22.11.1895.

Carl Nielsen Udgaven CN 00051

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Sange af Ludvig Holstein, opus 10 (nr. 11-16)
Også sangene til tekster af Ludvig Holstein falder idet store og hele ind under kategorien “kunstsange”.

Ludvig Holstein Songs (Nos. 11-16)

Holsteins Digte udkom i slutningen af 1895, men to af

The songs to texts by Ludvig Holstein also fall broadly

de digte, som Carl Nielsen satte i musik (Sommersang

speaking into the category of “art songs”. Holstein’sog Æbleblomst), havde tidligere været trykt i Illustreret

Digte were published at the end of 1895, but two ofTidende (hhv. 25. november 1894 og 30. juni 1895).

the poems that Nielsen set to music (Summer Song and

Det vides ikke, om Carl Nielsen først har påbegyndt

Apple Blossom) had previously been printed in Illustreretkompositionen, efter at digtene forelå udgivet, eller

Tidende (25 November 1894 and 30 June 1895, respec-om der forinden har været kontakt mellem digter og

tively). It is not known whether Nielsen only began

komponist omkring disse sange. Det mest sandsyn-

his compositions after the poems had been published,lige er, at Carl Nielsen er blevet bekendt med digtene,or whether there had previously been some contact

da de udkom i slutningen af 1895 og derefter har

38
with Holstein in respect of these songs. Most proba-

kastet sig over kompositionen fra omkring årsskiftet

bly Nielsen became acquainted with the poems when

1895-1896. Denne datering underbygges af, at han ithey appeared at the end of 1895 and then set to workmarts 1896 modtog 250 kr. fra forlaget Wilhelm Han-on their composition around New Year 1896. This dat-

sen som honorar for sangene.

36

Uropførelsen fandt sted ved Carl Nielsens

ing is supported by the fact that in March 1896 he received a honorarium of 250 kroner for the songs fromWilhelm Hansen.

39

37

kompositionskoncert den 3. februar 1898 i Koncertpalæets Mindre Sal, idet sangene I Aften og Hilsen (nr. 15

The premiere took place at Nielsen’s compos-

og 16) dog allerede var blevet opført ved Wilhelm Han-er’s concert on 3 February 1898 in the Lesser Hall ofsens forlagskoncert den 6. februar 1897. Sangene blev

the Koncertpalæ, although Tonight and Greeting (Nos.

ved uropførelsen udført af Ida Møller og Margrethe

15 and 16) had already been performed at a Wilhelm

38
Boye-Jensen akkompagneret af Adolfa Johnsson; deHansen house composer’s concert on 6 February 1897.

ﬁk en blandet modtagelse, skarpest og mest negativt

At the premiere the songs were performed by Ida

formuleret i Charles Kjerulfs omtale af de to sange fra

Møller and Margrethe Boye-Jensen, accompanied byforlagskoncerten den 6. februar:

40
Adolfa Johnsson. They had a mixed reception, most

sharply and negatively formulated in Charles Kjerulf’s“De to Sange af Carl Nielsen: ‘I Aften’ og ‘Hilsen’ er af

discussion of the two songs at the 6 February concert:hans sidste, nyligt udkomne Sanghæfte til Tekster af
Ludv. Holstein, men begge saa forvredne og udgrunde-“Nielsen’s two songs ‘Tonight’ and ‘Greeting’ are fromhis latest, recently published volume of songs to texts

36 I Fog og Schousboe (1965), s. 9 anføres kompositionstidspunktet som 1894. Muligvis har Carl
Nielsen også haft planer om at sætte digtet “Kysmig paa Øjnene Sol” i musik; en kort skitse til
musik til dette digt i skitsen til Æbleblomst (MS 33
2280 nr. 11) peger i denne retning (jf. Ulla Sylvest
Verstergaard, Carl Nielsen og hans tekstdigtere; enundersøgelse af forholdet mellem tekst og musik i Carl
Nielsens sange., Københavns Universitet, utrykt
speciale, 1966, s. 54).
37 Schousboe (1983), s. 127. Knud Martner har venligst bidraget med en række oplysninger omkringdateringen af disse sange.
38 Margrethe Boye-Jensen sang Erindringens Sø, Sangbag Ploven og I Aften, mens Ida Møller sang Sommersang, Hilsen og Æbleblomst.

by Ludvig Holstein, but both are so distorted and over-

38 In Fog and Schousboe (1965), p. 9 the date of composition is given as 1894. Nielsen may have hadplans to set the poem “Kys mig paa Øjnene Sol”;
a short sketch within the sketches for Apple Blossom (MS 33 2280 No. 11) points in this direction(see Ulla Sylvest Verstergaard, Carl Nielsen og hans
tekstdigtere; en undersøgelse af forholdet mellem tekstog musik i Carl Nielsens sange. University of Copenhagen, unpublished dissertation, 1966, p. 54).
39 Schousboe (1983), p. 127. Knud Martner has kindly contributed a number of points of information
concerning the dating of these songs.
40 Margrethe Boye-Jensen sang Lake of Memories, Songbehind the Plough and Tonight, while Ida Møller
sang Summer Song, Greeting and Apple Blossom.

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de, at man selv med den bedste Vilje maa give fortabt
overfor dette ‘Sang’-Begreb. I den første fornemmer
man endda et Pust af Stemning, som Komponistens alingenious that with the best will in the world one

deles sygelige Selvstændighedstrang ikke har kunnet

could hardly call them ‘songs’. In the former one cankvæle, men i ‘Hilsen’ opgiver man aldeles Ævret. Det

still detect a hint of atmosphere, which the compos-

er hverken Sang eller Musik, men et vilkaarligt Node-er’s utterly morbid urge for originality has not been

Eksperiment.”

39

able to stiﬂe, but in ‘Greeting’ you have to throw inthe towel. This is neither song nor music, but a random note-experiment.”

41

Sangene udkom på Wilhelm Hansens Musikforlag i1897 i en dansk-tysk udgave, der blev genoptrykt ad40
skillige gange i komponistens levetid. Ligesom det er

The songs were published by Wilhelm Hansens Musik-tilfældet med opus 4 og opus 6 er omslagstegningenforlag in 1897 in a Danish-German edition, reprinted

udført af Anne Marie Carl-Nielsen.

42
several times in the composer’s lifetime. As with

Sang bag Ploven (nr. 14) blev særlig populær og

Op. 4 and Op. 6, the cover design was made by Anneblev i 1927 optaget i tillægget til Folkehøjskolens Melodi-

Marie Carl-Nielsen.

bog (nr. 213) – et udtryk for, at grænsen mellem CarlSong behind the Plough (No. 14) became especial-

Nielsens tidlige kunstsange og de senere, såkaldte

ly popular, and in 1927 it was included in the supple-“folkelige” sange undertiden er ﬂydende. I Aften og

ment to the Folk High School Melody Book (No. 213) – aÆbleblomst blev instrumenteret i Carl Nielsens levetid

sign that the border between Nielsen’s early art songs

af henholdsvis Johannes Andersen og Poul Schierbeck.

and the later, so-called “folkelige” songs is sometimes
ﬂuid. Tonight and Apple Blossom were orchestrated in

Stroﬁske Sange, opus 21 (nr. 20-26)

Nielsen’s lifetime by Johannes Andersen and PoulI december 1907 udsendte Carl Nielsen to små hæfter
med titlen Stroﬁske Sange med henholdsvis tre og ﬁreSchierbeck respectively.

sange i hvert hæfte, tilegnet Bodil Neergaard på god-

Strophic Songs, Op. 21 (Nos. 20-26)

41
set Fuglsang på Lolland. Første hæfte indeholder san-In December 1907 Nielsen published two little vol-gene “Skal Blomsterne da visne?” (Helge Rode), Høgenumes with the title Strophic Songs, containing threeog Jens Vejmand (begge Jeppe Aakjær), mens andet hæf-and four songs respectively, dedicated to Bodil Neer-te bringer sangene “Sænk kun dit Hoved, du Blomst”

43

gaard on the Fuglsang estate, Lolland. The ﬁrst vol-(Johannes Jørgensen), “Den første Lærke” (Jeppe Aa-

ume contains the songs “Shall ﬂowers, then, all with-kjær), samt Husvild og Godnat (Johannes V. Jensen). De

er?” (Helge Rode), Hawk, and John the Roadman (bothJeppe Aakjær), while the second has the songs “Lay

39 Politiken, 7.2.1897.
40 Den tyske oversættelse af E. von Enzberg, der ioriginaludgaven er anført under noderne, gengives i nærværende udgave, s. 307-309.
41 Bodil Neergaard var selv en dygtig amatør sangerinde, der gerne optrådte ved de private aftenkoncerter på Fuglsang.

down, sweet ﬂower, your head” (Johannes Jørgensen),“The larks are coming” (Jeppe Aakjær), and Vagrant

41 Politiken, 7.2.1897.
42 The German translation by E. von Enzberg, included beneath the notes in the original publication, is given in the present volume, pp. 307-309.
43 Bodil Neergaard was herself an accomplishedamateur singer, who liked to perform in private
evening concerts at Fuglsang.

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syv sange er komponeret i perioden mellem januar
1901 og sommeren 1907, og ﬂere af dem var således
allerede kendt forud for udgivelsestidspunktet.
and Good Night (Johannes V. Jensen). The seven songs

Den tidligste af sangene, “Skal Blomsterne dawere composed between January 1901 and the sum-

visne?”, blev oprindeligt skrevet til Helge Rodes skue-

mer of 1907, and several of them were therefore al-spil Kampene i Stefan Borgs Hjem, opført på Dagmartea-

ready known before the point of publication.

tret i februar og marts 1901; året efter blev den gengi-

The earliest of the songs, “Shall ﬂowers, then,vet i Illustreret Tidende.

42

all wither?”, was originally composed for Helge Rode’s“Sænk kun dit Hoved, du Blomst” er blevet til

play The Fights in Stefan Borg’s House, staged at the Dag-i forlængelse af Johannes Jørgensens og Carl Nielsens

mar Theatre in February and March 1901; the follow-

samarbejde omkring kantaten Søvnen i 1903. Som det

ing year it was published in Illustreret Tidende.

44

fremgår af nedenstående brev, sendte Johannes Jør-

“Lay down, sweet ﬂower, your head” was com-gensen forslag til en tekst til kantaten i form af ﬁreposed in connection with Nielsen’s collaboration withdigte (heriblandt “Sænk kun dit Hoved, du Blomst”),

Johannes Jørgensen on the cantata Sleep in 1903. As

som Nielsen ganske vist måtte kassere som grundlag

the letter below indicates, Jørgensen had suggested afor sin kantate, men som han lovede at ville arbejde

text for the cantata in the form of four poems (includ-videre med som enkeltsange; tilsyneladende blev det

ing “Lay down, sweet ﬂower, your head”), which Niel-dog ved den ene sang:sen rejected as the basis for his cantata, but which hepromised to work on as separate songs; however, he“De har beredt mig en stor Nydelse ved de ﬁre smukke

apparently only set this one song:

Digte De sendte mig igaar. Der er noget der minder
mig om min Barndom i Fyn, noget som Pilehegn, fug-

“The four beautiful poems you sent me yesterday havetige grønne Marker ved Aftentide naar Solen synker.

given me great pleasure. There is something in them

De afmaalte Slag af en Tøjrekølle er udmærket og me-that reminds me of my childhood on Funen, some-get andet.”thing of willow hedges and moist green ﬁelds in theevening as the sun is setting. The measured strokes ofEfter at have forklaret, hvorfor digtene ikke egner sig

the mallet are remarkable, and much besides.”som tekst til den planlagte kantate, fortsætter han:“Men Deres Digte er saa smukke og jeg vil derfor meget

After explaining why the poems were not suitable asgjerne have lov at Komponere dem som Sange og som

texts for the planned cantata, he continued: “But yoursaadanne Sangtexter er de mig ret inderlig tilpas.”43“Sænk kun dit Hoved, du Blomst” foreligger ipoems are so beautiful; so I should like to promise tocompose them as songs, and as song texts they are
just right for me.”to versioner fra Carl Nielsens hånd, en for sang og kla44ver, dateret 8. december 1903, og en for sang og or-

45“Lay down, sweet ﬂower, your head” exists inkester (nr. 290). Den blev uropført 12. marts 1907 ved

two versions in Nielsen’s hand: for voice and piano,

Margrethe L.C. Nielsens debutkoncert, hvor hun blev

46

dated 8 December 1903, and for voice and orchestra

akkompagneret af pianisten Henrik Knudsen.

45(No. 290). It was premiered on 12 March 1907 at Margrethe L.C. Nielsen’s debut concert, where she was accompanied by the pianist Henrik Knudsen.

42 Kladden dateret 26.1.1901. Se CNU I/6 og IllustreretTidende 44/9 (1902), s. 142.
43 Brev fra Carl Nielsen til Johannes Jørgensen af
20.10.1903.
44 Jf. MS 33 2217.
45 Iﬂg. dagbogsnotat af 12.3.1907, hvoraf det fremgår, at sangen måtte synges da capo.

47

44 Draft dated 26.1.1901. See CNU I/6 and IllustreretTidende, 44/9 (1902), p. 142.
45 Letter of 20.10.1903 from Nielsen to Johannes Jørgensen.
46 According to MS 33 2217.
47 According to diary entry of 12.3.1907, from which
it also appears that the song was encored.

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De øvrige fem sange er alle komponeret i juni
46

og juli 1907. Johannes V. Jensens to jydske digte stammer fra slutningen af romanen Kongens Fald (1900-1901)
The remaining ﬁve songs were all composed in48– i romanen forfattet og foredraget af den omvandren-

June or July 1907. Johannes V. Jensen’s two Jutlandic

de sanger Jakob Spillemand; Husvild synges af Jakob forpoems are from the conclusion to the novel Kongens

hans døvstumme ledsagerske Ide på Grenen ved Ska-

Fald (1900-1901) – in the novel they are composed andgen, mens Godnat er Jacobs afsked med denne verden

performed by the itinerant singer, Jakob Spillemand;og samtidig afslutning på Johannes V. Jensens roman.

Vagrant is sung by Jakob for his deaf and dumb compan-

De tre digte af Aakjær var udkommet i digtsamlingen

ion Ide at Grenen near Skagen (the northernmost point

Rugens Sange og andre Digte i 1906, idet Jens Vejmand alle-of Jutland), and Good Night is Jakob’s departure fromrede forinden havde været trykt i Politiken 27. juni 1905,
49

this world and also the conclusion to Jensen’s novel.

47

kun godt en uge efter at Aakjær havde skrevet det.

The three poems by Aakjær had appeared in the collec-

Sangene blev af Johanne Krarup-Hansen, ak-tion of poems Rugens Sange og andre Digte in 1906, John

kompagneret af Henrik Knudsen, opført ved en Carlthe Roadman having already been printed in Politiken on

Nielsen-koncert den 30. november 1907 i Odd Fellow

27 June 1905, a mere week after Aakjær had written it.

Palæet sammen med to andre uropførelser (korsangen

The songs were performed at a Nielsen concert“Kom, Gudsengel, stille Død” (nr. 303) og Strygekvartet iin the Odd Fellow Palæ by Johanne Krarup-Hansen,

F dur opus 44). Anmelderne var generelt meget positive

accompanied by Henrik Knudsen, together with twoi deres vurdering, og allerede her ved førsteopførelsen

further premieres (the choral song “Come, God’s an-

karakteriseredes Jens Vejmand som “en rigtig Træffer,gel, silent Death” (No. 303) and the String Quartet in F

som nok inden lang Tid skal blive folkekær, saa lige ud

Op. 44). The reviews were generally very positive, andad Landevejen den virker i sin knappe og let tilgængeli-

already here at the ﬁrst performance John the Road-

ge Illustration” – en spådom, som blev bekræftet af san-man was characterised as “a real hit, which will prob-

gens enestående popularitet i Carl Nielsens levetid.

48

Selv gav komponisten i et tilbageskuende

ably soon win wide popularity, so straightforward is
it in its succinct and easily accessible illustration” – ainterview i Nationaltidende en levende beskrivelse af

prophecy that would be conﬁrmed by the song’s nu-

melodiens tilblivelse; efter at have talt om sit arbejde

50

merous performances in Nielsen’s lifetime.

In a retrospective interview in Nationaltidende

med symfonierne, kammermusikken og korværkerne
fortsætter han:the composer himself gave a lively description of how
the melody came into being; after describing his work

“Med de smaa Arbejder er det anderledes. Der er ingenon symphonies, chamber music and choral works, he

Tid til Udvikling, og dér maa jeg vente, til Øjeblikket

continued:

kommer. Det kan komme straks, men det kan ogsaa
lade vente længe paa sig. Og der ligger ofte for mig“It’s different with smaller works. There’s no timeet stort Arbejde bag en lille Ting. F. Eks. Melodien til

for developing ideas, and here I have to wait until‘Jens Vejmand’ kostede mig mange – vist over 50 – for-the moment comes. It may come straight away, butgæves Forsøg gennem 3-4 Maaneder; jeg syntes, at alle

it may also keep me waiting a long time. And often ade Melodier, jeg havde fundet, var for kunstige, og jeg

lot of work goes into something quite small. For example, the melody for ‘John the Roadman’ cost me

46 Jens Vejmand 25.6.1907, “Den første Lærke”
26.6.1907, Godnat 28.6.1907, Husvild 1.7.1907 (dagbogsnotater, Fellow (2007), s. 171-174) og Høgen16.7.1907 (datering i MS 33 2212).
47 De to digte blev efterfølgende offentliggjort i Johannes V. Jensens Digte fra 1906.
48 Børsen, 3.12.1907.

many vain attempts – probably over 50 in the courseof three to four months; I felt that all the melodies

48 John the Roadman 25.6.1907, “The larks are coming”
26.6.1907, Good Night 28.6.1907, Vagrant 1.7.1907 (according to diary entries, Fellow (2007), pp. 171-174)
and Hawk 16.7.1907 (dated in MS 33 2212).
49 The two poems were later published in Johannes
V. Jensen’s Digte of 1906.
50 Børsen, 3.12.1907.

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havde egentlig slaaet Digtet helt af Tankerne. Men saa
en skøn Dag meldte Melodien sig ganske af sig selv –en Dag, jeg stod og skulde med Toget til Klampenborg
I had invented were too artiﬁcial, and I had actually49– og saa var den nedskrevet i Løbet af faa Minuter.”dismissed the poem from my mind. But then one ﬁneday, when I was waiting for the train to Klampenborg,

I det hele taget skulle Jens Vejmand i de følgende år

the melody announced itself of its own accord. And

blive Carl Nielsens mest kendte komposition og på

51then it took a matter of minutes to write it down.”

godt og ondt “forfølge” ham gennem hele livet. Som
en af de eneste – måske den eneste – af hans sange op-

In the following years John the Roadman would becomenåede den tre helt forskellige funktioner: som folkelig

Nielsen’s best-known composition, and for better orfællessang, som koncertsang og som schlager.
Talrige beretninger understreger, hvordan me-

for worse it would dog him for the rest of his life. It
was one of his only songs – perhaps the only one – tolodien blev udbredt i mere eller mindre forvanskede

ﬁll three diverse functions: as a “folkelig” communal

versioner, og lejlighedspoeter anvendte melodien mere

song, as a concert piece, and as a hit tune.

end nogen, når Carl Nielsen skulle hyldes eller karike50

Numerous accounts emphasise how the melody

res. Han anvendte også selv melodien som eksempel

circulated in more or less corrupt versions, and versiﬁ-

på komponistens dårlige lod. I de opsigtsvækkende ud-

ers used the melody more than any other when Nielsen

talelser, der fulgte i kølvandet på nogle interviews i for-52

was to be extolled or caricatured. He himself also usedbindelse med hans 60-årsdag, fremhævede han, at han

it as an example of the composer’s impecunious fate. Ini sin tid kun havde modtaget sølle 50 kr. fra Wilhelm

the sensational declarations that followed in the wake

Hansens Musikforlag for Jens Vejmand: “Og parallelise-of interviews in connection with his 60th birthday, herer man den dygtige Forretningsmand og den begavede

emphasised that he had only received a derisory 50 kro-

51
Kunstner, saa er der dog en himmelvid Forskel.” Net-ner from Wilhelm Hansen for John the Roadman: “And if

op denne udtalelse var medvirkende til det brud, der

you compare the successful businessman or the gifted

i 1926 fandt sted mellem komponisten og forlaget, og

53
visual artist, there is a world of difference.” This re-den har fået en fremtrædende plads i hele Carl Nielsenmark contributed to the break that took place between

receptionen. Muligvis husker han dog forkert, idet den

composer and publisher in 1926, and it has occupied abevarede forlagskontrakt mellem Carl Nielsen og for-prominent place in the entire Carl Nielsen reception.

laget Wilhelm Hansen fra 1909 viser, at Stroﬁske Sange

Possibly his memory played him tricks, however, since(inkl. Jens Vejmand) indgik i en samlet aftale sammen

the 1909 contract between him and the publishingmed 6 andre værker til en samlet sum af 2.700 kr.

52

house shows that the Strophic Songs (including John the
Roadman) were part of an agreement together with six

49 Fellow (1999), s. 226.
50 Se f.eks. Ekstrabladets “Tak for Sangen, Carl”(9.6.1910) eller Dagens Vers i B.T. (8.6.1925) med
tekst af Jensenius og tilhørende karikaturtegningaf komponisten med strithår og hænderne forørerne. Jf. også Olfert Jespersens beretning fra
Skagen i brev til Carl Nielsen af 7.10.1910 om nogle hotelgæsters udtrykkelige ønske til pianisten
Olfert Jespersen om netop at spille denne melodi
frem for andre af tidens populære melodier.
51 Politiken, 10.1.1926 (Fellow (1999), s. 385).
52 Kontrakten er gengivet i Finn Gravesen, Hansen,
København 2007, s. 180. Kontrakten omfattede,
udover Stroﬁske Sange, en række andre værker
samt “4 Aars Komponistgage (1500 Kr.)”. En særlig
afregning for Jens Vejmand er ikke anført, men
fordeler man det samlede beløb på de anførteværker, er resultatet “50 kr.” næppe skudt helt
ved siden af.

54

other works for a total sum of 2,700 kroner.

51 Fellow (1999), p. 226.
52 See, for example, “Tak for Sangen, Carl” in Ekstrabladet, 9.6.1910, or Dagens Vers in B. T., 8.6.1925,
with text by Jensenius and an accompanying
cartoon of the composer with bristly hair andhis hands over his ears. Cf. also Olfert Jespersen’sreport from Skagen in a letter to Nielsen of
7.10.1910 about some hotel guests requesting
him to play this very melody on the piano, rather
than the popular melodies of the day.
53 Politiken, 10.1.1926 (Fellow (1999), p. 385).
54 The contract is reproduced in Finn Gravesen,
Hansen, Copenhagen 2007, p. 180. The contract
covered, apart from the Strophic Songs, a numberof other works together with “Four years’ retainer(1500 kroner)”. No special amount for John the Roadman is entered, but if one divides the total amountby the works listed, “50 kroner” is not so far off.

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Sange fra skuespil og lejlighedskantater
Carl Nielsen har efterladt sig en omfattende produk53

tion af lejlighedskantater og musik til skuespil. For

Songs from Plays and Occasional Cantatas

størstedelen af disse partiturer gælder det, at de har

Nielsen left an extensive output of occasional canta-

henligget utrykte frem til vor tid. Derimod blev en

55

tas and incidental music for the theatre. The ma-stor del af de sange, der indgik i disse værker, trykt

jority of these scores remained unpublished until re-allerede i samtiden i komponistens egne klaverarran-cently. On the other hand, many of the songs he in-gementer. Disse trykte udgaver sikrede sangene encluded in these works were already printed in his day

udbredelse, der rakte ud over værkernes oprindeligein his own piano arrangements. These printed edi-

rammer, og som nævnt ovenfor har ﬂere af sangene

tions ensured the songs a dissemination wider thanopnået en status på lige fod med komponistens øv-

their original framework, and as mentioned above,rige folkelige danske sange, mens andre ﬁk en vis

several of them achieved a status equal to his otherudbredelse som koncertsange i samtiden. Det drejer“folkelige” Danish songs, while others were to some

sig om følgende syv samlinger og tre enkeltsange, iextent heard in concert during Nielsen’s lifetime. Thisalt 30 sange:

54

group consists of seven collections and three separate
56

Tre Sange fra Hr. Oluf han rider– (nr. 17-19)

songs, 30 songs in total:

Fem Sange fra Willemoes (nr. 27-31)
Three Songs from Sir Oluf, he rides– (Nos. 17-19)

Fire Sange fra Tove (nr. 32-35)

Five Songs from Willemoes (Nos. 27-31)

To Sange fra Ulvens Søn (nr. 36-37)

Four Songs from Tove (Nos. 32-35)

To Sange fra Kantate ved Grosserersocietetets Hundredaarsfest (nr. 110-111)

Two Songs from The Wolf’s Son (Nos. 36-37)
Two Songs from the Cantata for the Centenary of the

Tre Sange fra Aladdin (nr. 112-114)
Otte Sange fra Moderen (nr. 117-124)

Chamber of Commerce (Nos. 110-111)

Halloges Sang fra Hagbarth og Signe (nr. 228)

Three Songs from Aladdin (Nos. 112-114)

55

Ariels Sang fra Prolog Shakespeare (nr. 237)

Eight Songs from The Mother (Nos. 117-124)
57

Halloge’s Song from Hagbarth and Signe (No. 228)

Vi Jyder fra Fra Rold til Rebild (nr. 274)

Ariel’s Song from Prologue Shakespeare (No. 237)
We of Jutland from From Rold to Rebild (No. 274)

De tre sange fra Hr. Oluf han rider– (Hellelidens Sang, Hr.
Olufs Sang og Dansevise) udkom i et arrangement for

The three songs from Sir Oluf, he rides– (Little Helen,sang og klaver sammen med et klaverarrangement af

Oluf’s Song and Dancing Ballad) appeared in an arrange-

Elverdans (fra slutningen af 2. akt) kort efter opførel-ment for voice and piano together with a piano ar-sen af skuespillet på Det Kongelige Teater i oktoberrangement of the Elves’ Dance (from the end of Act 2)

56
1906. En enkelt af sangene, Hellelidens Sang, blev op-

shortly after the premiere of the play at the Royal
58
Theatre in October 1906. One of the songs, Little

53 For en nærmere omtale af musikken til disse værker henvises til forordene til de respektive værker
i CNU I/6-9 og III/2-3.
54 Hertil kommer to satser for kor og klaver fra
Sanct Hansaftenspil samt “Ja, tag os, vor Moder” fraWillemoes, der behandles s. 111-112, 123-124.
55 Denne (nr. 228) og de to følgende sange (nr. 237
og 274) behandles under Enkeltsange, s. 83, 88, 105.
56 Ifølge Wilhelm Hansens stikkerbog blev pladerne
stukket i november-december 1906.

55 For a more detailed account of the music forthese works, see the relevant prefaces in CNU I/69 and III/2-3.
56 To this should be added two pieces for choir andpiano from Midsummer Eve Play and “Yea, take us,
our mother” from Willemoes, which are describedon pp. 111-112, 123-124.
57 This song (No. 228) and the two following (Nos.
237 and No. 274) are described under Separate
Songs, pp. 83, 88, 105.
58 According to Wilhelm Hansen’s engravers’ book,the plates were engraved in November-December
1906.

Carl Nielsen Udgaven CN 00051

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ført ved en koncert i Studenterforeningen 15. december 1906 af Ida Møller med Carl Nielsen ved klaveret.
Bortset fra denne ene opførelse optrådte sangene
Helen, was performed in a concert at the Students’kun yderst sjældent på koncertprogrammerne i Carl

Society on 15 December 1906 by Ida Møller, with Niel-

Nielsens levetid.
Carl Nielsens musikalske bidrag til skuespil-

sen at the piano. Apart from this single performance,
the songs appeared only very rarely on concert pro-let Willemoes omfatter orkesterforspillet til tredje aktgrammes in Nielsen’s lifetime.

samt de fem sange, idet dog den tredje, “Følger hvo

Together with the orchestral prelude to Act 3,

som følge kan!”, ved opførelsen af skuespillet på Fol-the ﬁve songs form the entirety of Nielsen’s musicalketeatret i 1908 blev sunget til musik af teatrets ka-

contribution to the play Willemoes. The third, “Follow

pelmester Axel Schiøler; først i denne klaverudgave

he who follow can!”, however, was sung to music by theforelå den således med musik af Carl Nielsen. De fem

59

57

theatre’s musical director, Axel Schiøler at the per-sange udkom på Wilhelm Hansens Musikforlag sam-formance of the play at the Folketeatret in 1908; onlyme år, tilegnet Helge Nissen, der et par år forinden

in the piano publication did this song appear withhavde sunget rollen som Henrik i Maskarade. Hæftet

music by Nielsen. The ﬁve songs were published by Wil-omfatter følgende sange: “Fædreland! Fædreland!”helm Hansens Musikforlag in the same year, dedicated(nr. 27), “Ja, tag os, vor Moder” (nr. 28; se også nr. 304),

to Helge Nissen, who a couple of years previously had“Følger hvo som følge kan!” (nr. 29), Vibekes Sang (nr.

sung the role of Henrik in Maskarade. The volume com-30) og Havets Sang (nr. 31). Blandt disse har især Havets

prises the following songs: “Native land! Native land!”Sang (“Havet omkring Danmark”) vundet almindelig(No. 27), “Yea, take us, our mother” (No. 28; see also No.

udbredelse, idet den i 1927 blev optaget i tillægget til304), “Follow he who follow can!” (No. 29), Vibeke’s Song

Folkehøjskolens Melodibog (nr. 203). Muligvis er det tek-(No. 30) and Song of the Sea (No. 31). Of these, Song of thesten til denne sang, som Carl Nielsen havde i tanker-

Sea (“Seas surrounding Denmark”) achieved general

ne i sit begejstrede brev til L.C. Nielsen i forbindelsecurrency, in that it was included in the supplement

med arbejdet med forfatterens tekster, hvor det bl.a.

to the Folk High School Melody Book in 1927 (No. 203). It

hedder: “Jeg skal lave en god Sang, men jeg skriver

may have been the text to this song that Nielsen had

58
ikke en Node før den springer fuldt færdig frem.” Al-in mind in his enthusiastic letter to L.C. Nielsen in con-lerede i april, to måneder efter premieren på skuespil-

nection with his work on the author’s texts, where helet, havde Alette Schou forudsagt at “Sangene deraf

wrote, amongst other things, “I shall compose a good

[dvs. fra Willemoes] trænger langt, langt ned i Folk, det,song, but I shan’t write down a note until it springs

59
synes jeg, maa være saa morsomt.” I klaverversionen

60

forth fully formed.” Already in April, two months

af “Fædreland! Fædreland!”, der i skuespillet synges af

after the premiere of the play, Alette Schou had pre-enstemmigt kor kun ledsaget af stortrommen, laderdicted that “The songs from it [i.e. from Willemoes] will

Carl Nielsen klaverets højre hånd ledsage sangstem-

reach deep into people’s hearts, and that, I think will

men unisont, mens venstre hånd illustrerer stortrom-61

be so nice”. In the piano version of “Native land! Na-men, således som det fremgår af følgende anvisning

tive land!”, which in the play is sung by unison choir

fra komponisten: “Disse Stjernenoder erstatte Stor-

accompanied by bass drum only, Nielsen has the piano
right-hand part accompany the voices in unison, while

57 Se indledning til CNU I/6, s. xxvi ff.
58 Brev til L.C. Nielsen 10.10.1907.
59 Brev fra Alette Schou til Carl Nielsen, udateret ca.
10.4.1908.

the left hand illustrates the bass drum as it appears

59 See Preface to CNU I/6, pp. xxvi ff.
60 Letter to L.C. Nielsen, 10.10.1907.
61 Letter from Alette Schou to Nielsen, undated, ca.
10.4.1908.

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trommen og udføres ved at anslaa en Del af Klaverets
dybeste Toner. Ved cresc. og

ﬀ tager man ﬂere og

ﬂere Toner med saa det dundrer.”
Sangene fra Ludvig Holsteins skuespil Tovefrom the composer’s instruction for performance:

60“These star-shaped notes represent the bass drum andudkom på Wilhelm Hansens Musikforlag i 1908,

may be performed by striking a number of the piano’s

tilegnet komponistens gode ven, sangeren Vilhelm

deepest notes. At cresc. and

Herold, som i 1902 havde sunget partiet som Davidﬀ more and more notes

ved uropførelsen af operaen Saul og David. I øvrigt var

should be struck, so that the sound thunders.”
62

The songs from Ludvig Holstein’s play Tove

Herold den første, der indsang Carl Nielsen-sange påwere published by Wilhelm Hansens Musikforlag ingrammofonplade, idet han i 1909 indspillede Jæger-1908, with a dedication to the composer’s close friend,

61
sangen fra Tove og Jens Vejmand fra Stroﬁske Sange. Af

the singer Vilhelm Herold, who had sung the role ofdisse ﬁre sange (“Vi Sletternes Sønner har DrømmeDavid at the 1902 premiere of the opera Saul and David.

i Sind”, Fuglefængervise, Toves Sang og Jægersangen,

Apart from this, Herold was the ﬁrst to sing Nielsen

nr. 32-35) har den første – “Vi Sletternes Sønner harsongs on gramophone record, when he recorded Hunt-

Drømme i Sind” – siden fået status som “folkelig”

er’s Son from Tove and John the Roadman from the Stroph-dansk sang, mens den sidste, Jægersangen, i komponi-

63
ic Songs in 1909. Of these four songs (“We, sons of thestens samtid nød en vis yndest som koncertsang. Hol-plains carry dreams in our minds”, Fowler Lay, Tove’s

steins digt “Vi Sletternes Sønner” forelå allerede tryktSong and Hunter’s Song, Nos. 32-35) the ﬁrst – “We, sons62
i 1898, samme år som den oprindelige udgave afof the plains carry dreams in our minds” – gained theTove blev trykt, men uden dette digt. I denne version

status of a “folkelig” Danish song, while the last, Hunt-

63
fremstod det i ti ﬁrelinjede strofer. Ved opførelsen

er’s Song, won a certain favour as a concert song. Hol-af skuespillet i 1908 omarbejdede Holstein hele skue-

stein’s poem “We, sons of the plains carry dreams inspillets tekst og indlagde i den forbindelse “Vi Slet-64

our minds” had been printed in 1898, the same year

ternes Sønner”, nu med udeladelse af de oprindeligeas the original edition of Holstein’s play, but without

strofer 5 og 8. Det må herefter være Carl Nielsen, derthis poem. In this version it appeared in ten four-line

har slået de resterende otte strofer sammen til de ﬁre65
verses. At the premiere of the play in 1908 Holsteinotte-linjede strofer, som optræder i såvel skuespilmu-

revised the entire text and took the opportunity to add

sikken til Tove som i det her omtalte hæfte med sange.

“We, sons of the plains carry dreams in our minds”,

Sangens toneart (G dur med deraf følgende højtone

now omitting the original verses 5 and 8. It must havepå g'' ) og omhyggeligt udarbejdede klaverakkompag-

been Nielsen who afterwards gathered the remaining

nement peger på, at den er tænkt som kunstsang,eight verses together into the four eight-line verses

og Carl Nielsen medtog den da heller ikke i Folkehøj-

that appear both in the incidental music to Tove andin the volume of songs under discussion. The song’s

60 Se indledning i CNU I/6 s. xxxiii ff. samt Niels
Bo Foltmann og Lisbeth Ahlgren Jensen, “Det
Kongelige Bibliotek som udgiver af den nationale
kulturarv”, Umisteligt. Festskrift til Erland Kolding
Nielsen, redigeret af John T. Lauridsen og Olaf Olsen, København 2007, s. 577 ff.
61 Gramophone Concert Record G.C. 2-82753 (Jens
Vejmand) og HMV 2-82761 (Jægersangen), begge indspillet 1909.
62 “Sjælland”, Illustreret Tidende, Festnummer i Anledning af Kong Christian IX’s ﬁrsindstyve Aars Fødselsdag 8. April. 1818-1898, april 1898 sammen med enrække andre danske digteres arbejder.
63 Også i Holsteins Digte fra 1903 er der tale om 10
strofer med ﬁre linjer i hver.

key of G major, with a top note of g'' and a painstaking
piano accompaniment suggest that it was conceived as

62 See Preface in CNU I/6 pp. xxxiii and Niels Bo
Foltmann and Lisbeth Ahlgren Jensen, “Det
Kongelige Bibliotek som udgiver af den nationale
kulturarv”, Umisteligt. Festskrift til Erland Kolding
Nielsen, ed. John T. Lauridsen and Olaf Olsen, Copenhagen 2007, pp. 577 ff.
63 Gramophone Concert Record G.C. 2-82753 (Johnthe Roadman ) and HMV 2-82761 (Hunter’s Song),
both recorded in 1909.
64 “Sjælland”, Illustreret Tidende, Festnummer i Anledning af Kong Christian IX’s ﬁrsindstyve Aars Fødselsdag 8. April. 1818-1898, April 1898, together with anumber of other works by Danish poets.
65 In Holstein’s Digte of 1903 it also appears as tenverses, each of four lines.

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skolens Melodibog fra 1922. Derimod fandt den plads i
Danmarks Melodibog IV fra 1921-1922 og kom derefteri 1927 med i tillægget til Folkehøjskolens Melodibog (nr.
an art song, and Nielsen did not include it in the Folk

204), nu transponeret til Es dur og nu med genindfø-High School Melody Book of 1922. On the other hand it

relse af de udeladte to strofer fra Holsteins oprinde-

did appear in Danmarks Melodibog IV of 1921-1922 andlige version. Herved fremkommer en ejendommelig

was also included in the supplement to the Folk Highforskydning af forholdet mellem tekst og musik i

School Melody Book in 1927 (No. 204), now transposed

Holsteins strofe 5-8, som fremgår, såfremt man sam-down to E ﬂat and with the two omitted verses frommenligner Carl Nielsens version fra skuespillet og

Holstein’s original now restored. This brought about asanghæftet med den senere kendte version fra Folke-

remarkable displacement in the relationship between

højskolens Melodibog 1927 og alle senere udgaver. Mu-

text and music in Holstein’s verses ﬁve to eight, which

sikken til hvert af de to halvvers er nu byttet rundt:

is apparent if one compares Nielsen’s versions fromden del af melodien, der i den oprindelige version var

the play and the songbook with the later, familiar ver-komponeret til de ﬁre første linjer, anvendes nu til desion from the Folk High School Songbook of 1927 and all

ﬁre sidste linjer og omvendt!

64

Omslaget til hæftet med sangene fra Tove harlater editions. The music to each of the two half-verses
is now swopped round: the part of the melody origi-øjensynligt givet anledning til problemer, idet Carl

nally composed to the ﬁrst four lines now appears

Nielsen i et kort brev til hustruen om dette siger: “Jeg66

with the last four lines, and vice versa!

The cover for the edition of the songs fromsynes ikke om den Skizze til Tov[e]-Titelen. Derimod
har Søs lavet en Titel som kan bruges. – Jeg har sagt

Tove seems to have occasioned some problems, since

hun skal selv forelægge Dig den, hun er jo meget

Nielsen commented in a short letter to his wife: “I65spændt.” Der er ikke nogen signatur på det endelige

don’t like the sketch for the Tov[e]-title. But Søs has

omslag, men efter stilen at dømme er det formentlig

made a design that can be used. I have said she should

udført af datteren Søs (Anne Marie).
Carl Nielsens musik til Jeppe Aakjærs skuespil

submit it to you herself, and she is really excited about
67
that.” There is no signature on the ﬁnal drawing, but

Ulvens Søn, opført på Aarhus Teater i november 1909,

to judge from the style it was presumably done by Søs

omfatter udelukkende de to sange Gamle Anders Røg-(the couple’s younger daughter, Anne Marie).

ters Sang og Kommer I snart, I Husmænd! (sidstnævnte i

Nielsen’s music for Jeppe Aakjær’s play The

skuespillet for enstemmigt kor), udgivet på Wilhelm

Wolf’s Son, performed at the Aarhus Theatre in Novem-

Hansens Musikforlag for sangstemme med klaverak-ber 1909, consists entirely of the two songs Song of Old

66
kompagnement i 1909 (nr. 36 og 37). Udgivelsen må

Anders the Cattleman and Now is the Time, Smallholders!

være sket senere end slutningen af november 1909,(the latter sung in the play by unison choir), which

idet det fremgår af brev fra Carl Nielsen til forlaget

were published by Wilhelm Hansens Musikforlag for(og af den efterfølgende anmeldelse af koncerten),voice with piano accompaniment in 1909 (Nos. 36 andat sangene skulle opføres efter manuskript ved Ellen

6837). This publication must have been later than theend of November, since a letter from Nielsen to the

64 Se nærmere redegørelse for disse forhold i Niels
Krabbe, “Den danske musikkanon”, Umisteligt.
Festskrift til Erland Kolding Nielsen, redigeret af
John T. Lauridsen og Olaf Olsen, København 2007,
s. 707 ff.
65 Brev af 2.10.1908.
66 For en nærmere redegørelse for sangenes tilblivelse og modtagelse, se CNU I/6, s. xl ff.

publishers (and the subsequent reviews of the concert) state that the songs were to be performed fromthe manuscript at Ellen Beck’s evening of songs on 26

66 For more details, see the discussion of thisrelationship in Niels Krabbe, “Den danske
musikkanon”, Umisteligt. Festskrift til Erland Kolding Nielsen, ed. John T. Lauridsen and Olaf Olsen,
Copenhagen 2007, pp. 707 ff.
67 Letter of 2.10.1908.
68 On the composition and reception of the songs,
see CNU I/6, pp. xl ff.

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67
Becks sangaften den 26. november. Koncerten blev

anmeldt i Politiken af Charles Kjerulf; efter en fyldigog positiv omtale af en række af Peter Heises sange69

November. The concert was reviewed in Politiken by

hedder det:

Charles Kjerulf, who after a comprehensive and positive discussion of a number of songs by Peter Heise“Nyheder var to Sange (i Manuskript) af Carl Nielsen, hø-commented:

rende til Aakjærs nye Skuespil ‘Ulvens Søn’. De gjordemegen Lykke, var også meget let tilgængelige i al deres“Novelties were two songs (in manuscript) by Nielsen,

Enkelhed, der dog var saa vidtdreven, at den næsten

belonging to Aakjær’s new play ‘The Wolf’s Son’. They

blev fordringsfuld. Omkvædet paa den ene Vise var degave a lot of pleasure and were also very easily acces-

kloge sandfærdige Ord: ‘For vi træder hverandre i Dyn-sible in all their simpicity, which was yet so extreme

det ned’. Det hørtes dog ligesom gennem Melodien, atthat it almost became demanding. The refrain to one

Carl Nielsen ikke ret havde fornemmet den dybe Be-of them was the wise, truthful words ‘For we trample

tydning i dem – saa at sige: gjort dem til sine egne.”

68

each other deep down in dirt’. But the melody seems
to tell us that Nielsen has not perceived their deep70

meaning or, as it were, made them his own.”Også de tre sange fra Carl Nielsens omfangsrige parti69
tur til Oehlenschlägers Aladdin, opført over to aftnerpå Det Kongelige Teater i februar 1919, blev udgivet
The three songs from Nielsen’s extensive score for

af Wilhelm Hansen i umiddelbar tilknytning til tea-

71
Oehlenschläger’s Aladdin, performed over two eve-teropførelsen; det drejer sig om “Cithar! lad min Bøn

nings at the Royal Theatre in February 1919, were

dig røre” og “Visselulle nu, Barnlil!”, begge fra skue-

published by Wilhelm Hansen in direct association

spillets fjerde akt, samt “Alt Maanen oprejst staar” frawith the theatre performance; these are “Zither!

femte akt sunget af henholdsvis Gulnare, Aladdin og

Touched by this my prayer” and “Hushaby now, baby

Fatime (nr. 112-114).
Blandt sangene til Helge Rodes skuespil Mo-

li’l!” both from Act 4, and “Beyond black woods themoon already rises” from Act 5, sung by Gulnare,

70
deren (førsteopført i januar 1921) indgår et par af

Aladdin and Fatime respectively (Nos. 112-114).

Carl Nielsens mest folkekære sange (“Min Pige er saa

Amongst the songs to Helge Rode’s play The
72

lys som Rav” og “Som en rejselysten Flaade”). Et par

Mother (ﬁrst performed in January 1921) are two ofmåneder før opførelsen lod Carl Nielsen et uddragNielsen’s most popular songs (“Like golden amber is

af musikken fra skuespillet udgive som klaverudtog,

my girl” and “There’s a ﬂeet of ﬂoating islands”). A

71
heri bl.a. de otte sange (nr. 117-124), og i forbindelse

few months before the premiere, Nielsen published

med opførelsen udkom “Som en rejselysten Flaade”

extracts from his incidental music in piano reduc-tillige for ﬁrstemmigt blandet kor (nr. 306), her med

73tion, including the eight songs (Nos. 117-124), and intitlen Sangen til Danmark. Sangene blev hyppigt opført

connection with the ﬁrst performance “There’s a ﬂeet

ved koncerter i Carl Nielsens levetid, og allerede ef-of ﬂoating islands” was also published for four-voice
mixed choir (No. 306), here under the title Song about

67 Fellow (2007), s. 461-462.
68 Politiken, 27.11.1909.
69 Se indledning til CNU I/8.
70 Se indledning til CNU I/9 s. xi-xxvii.
71 Ifølge Wilhelm Hansens stikkerbog blev materialet, der ﬁk opusnummeret 41, indleveret til forlaget i december 1920. Ud over de her trykte sangerummer udgivelsen klaverversioner af Taagen letter, Forspil til fjerde Billede, Menuet, Forspil til syvende
Billede og Marsch, som alle udgives i CNU IV/1.

Denmark. The songs were often performed in concert

69 Fellow (2007), pp. 461-462.
70 Politiken, 27.11.1909.
71 See Preface to CNU I/8.
72 See Preface to CNU I/9 pp. xi-xxvii.
73 According to Wilhelm Hansen’s engravers’ bookthe material, which was given the opus number
41, was delivered to the publishers in December
1920. Apart from the songs printed here, the publication includes piano versions of The Mist is Rising,
Prelude to Scene Four, Menuet, Prelude to Scene Seven,and March, all of which are printed in CNU IV/1.

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ter opførelsen af skuespillet var det netop sangenes
kvalitet, der blev fremhævet i en af de mere fyldige
anmeldelser:
in Nielsen’s lifetime, and already after the performance of the play one of the longer reviews put its ﬁn-“Det blev saa absolut ikke Helheden, men Episoderne,

ger on their quality:

Detaillerne, som ejede Værdien, ofte en meget ﬁn og
stor Værdi. En højst original Vise var Narrens Sang

“It was absolutely not the work as a whole but its

om Hadet, der er det stærkeste, og som naar selv den

episodes and details that were of value, indeed of-ﬂyvende Ørn. Digtets Ord i Diktionen og dets Stem-ten of ﬁne and great value. A highly original songning i Instrumentationen var lige mesterlig skildret;was the Fool’s song about hate, which is extremely

kun en stor Musiker skriver sligt, og lige saa mester-strong, and which may even be compared to an ea-

ligt blev det sunget af Hr. Johannes Poulsen. I Skjal-

gle in ﬂight. The poem’s words in the diction and its

dens Sange mødte man ofte den Carl Nielsen igen,atmosphere in the instrumentation were both pre-vi kender fra hans danske Viser; det var den sammesented with mastery; only a great master writes like

Søgen imod det enklest mulige, den primitive Tone

this, and it was sung with equal mastery by Mr. Johan-

fra Musikkens Middelalder. Den er farlig at søge, for

nes Poulsen. In the Bard’s Songs we often re-encoun-

man ﬁnder den aldrig, hvis den ikke ligger i Hjertets

tered the Nielsen we know from his Danish songs;

Enfold. Carl Nielsens Hjerte er svært at gennemskue;

it was the same search for the simplest possible, themen en enkelt Sang som den om ‘Prinsesse Tove af

primitive tone from music of the Middle Ages. This

Danmark’ spillede paa Strenge, som var ægte. I saa-

is dangerous to seek out, because no one will ﬁnd it

danne Øjeblikke voksede Stemninger frem, som gav

who does not have it in the simplicity of their heart

Eventyret det dybe Perspektiv, men det ejede Mulighe-of hearts. Nielsen’s heart is difﬁcult to fathom; but

der for videre Horisonter.”72

a simple song such as ‘Princess Tove of Denmark’
touched strings that are genuine. In such moments“Som en rejselysten Flaade” optræder i skuespillet

moods were created that gave the tale a deep perspec-både som tematisk materiale i forspillet til syvende

tive, but it had possibilities for broader horizons.”

74

billede og i en ﬁrstemmig korudsættelse med orkesterledsagelse som apoteotisk afslutning på hele styk-“There’s a ﬂeet of ﬂoating islands” was used in theket. Den vandt hurtigt en vid udbredelse som fælles-

play both as thematic material in the Prelude to Scenesang både på grund af den tætte tilknytning til den

7 and in a four-part choral arrangement with orches-sønderjyske sag i årene efter Genforeningen og i kraft

tral accompaniment as the culmination of the entire

af optagelsen i Folkehøjskolens Melodibog i 1922 (nr. 177)

work. The song soon achieved broad dissemination as

og Melodier til Sangbogen ‘Danmark’ i 1924 (nr. 342 og

a communal song, partly thanks to its close associa-358), sidstnævnte til teksten “Søndret Folk er voksettion with the South Jutland issue in the years after

sammen”. Kilderne til de forskellige versioner af san-the Reuniﬁcation (when territories were restored to

gen udviser to muligheder for rytmen på sidste stavel-

Denmark after the First World War), partly thanks to

se i t. 14 (“-ger” i linjen “hør hvor blidt det klinger”):

its inclusion in the Folk High School Melody Book in 1922

enten ﬁre slag (korversionen fra skuespillet) eller to(No. 177) and in Melodies for the Songbook ‘Denmark’ in1924 (Nos. 342 and 358), the latter to the text “Grown

72 Gunnar Hauch i Teatret, 20/11 (1921), s. 131.

together, sundered nation”. The sources of the various versions of the song show two possibilities for the

74 Gunnar Hauch in Teatret, 20/11 (1921), p. 131.

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slag (Folkehøjskolens Melodibog og Melodier til Sangbogen
73‘Danmark’). På en fonografvalse fra omkring 1920 er
overleveret en indspilning, hvor Carl Nielsen selv spilrhythm on the last syllable of b. 14 (“-ger” in the line

ler sangen på klaver – her i den ikke udbredte form

“hør hvor blidt det klinger”): either four beats (themed ﬁre slag i den pågældende takt. Tempoet i udfø-

choral version from the play) or two (the High School

relsen er påfaldende langsomt, og den afsluttes med

75

74

Songbook and Melodies for the Songbook ‘Denmark’). A

en kort improvisation, formentlig fordi der endnu var

recording exists from about 1920 with Nielsen him-

lidt plads tilbage på voksvalsen.

75

Knap en måned efter opførelsen af Valdemar

self playing the song at the piano, in which he plays76

the non-published version with four beats. Nielsen’s

Rørdams Kantate ved Grosserer-Societetets Hundredaarsfest

tempo is remarkably slow, and he concludes with ai april 1917 udgav Wilhelm Hansen to sange fra kanta-

short improvisation, presumably because there wasten, Købmands-Vise og Hymne til Danmark (nr. 110-111).

77

still some room left on the wax cylinder.

Just a month after the performance of Valde-76

Sidstnævnte, til teksten “Danmark, i tusend Aar”, som
var kantatens afslutningsnummer for kor og orkester,

mar Rørdam’s Cantata for the Centenary of the Chamber of

havde Carl Nielsen oprindeligt komponeret til Helge

Commerce in April 1917, Wilhelm Hansen published two77
Rodes Prolog Shakespeare fra året før, og sangen ind-songs from the work, Merchant Song and Hymn to Den-gik senere i Melodier til Sangbogen ‘Danmark’ (nr. 361);

78

mark (Nos. 110-111). The latter, to the text “Denmark,efterfølgende blev den en del af den “folkelige” fæl-a thousand years”, which was the cantata’s concluding

lessangstradition. Begge sange fra kantaten ﬁk mange

number for choir and orchestra, was originally com-

opførelser på Børsen.

posed by Nielsen for Helge Rode’s Prologue Shakespeare
79
the year before, and the song was later included in

Salmer og aandelige Sange (nr. 38-86)

the Melodies for the Songbook ‘Denmark’ (No. 361); subse-

I 1914 indledte Carl Nielsen for alvor sit arbejde med

quently it became part of the “folkelige” communal

den enkle, stroﬁske sang og i denne forbindelse sit

singing tradition. Both songs from the cantata were fre-tætte – om end undertiden modsætningsfyldte – sam-quently performed at the Copenhagen Stock Exchange.

arbejde med Thomas Laub, et samarbejde, der direkteudmøntede sig i udgivelsen af de to hæfter med En

Hymns and Spiritual Songs (Nos. 38-86)

Snes danske Viser (se s. 50-63) og indirekte i udgivelsen

In 1914 Nielsen seriously set to work in the genre ofaf Carl Nielsens egne Salmer og aandelige Sange. Halv-the simple strophic song and in this connection also

hundrede nye Melodier for Hjem, Kirke og Skole i 1919. Ar-

began his close – if sometimes confrontational – collaboration with Thomas Laub, a collaboration that

73 Carl Nielsens manuskript til versionen i Melodier til Sangbogen ‘Danmark’ (MS 33 2152) viser
ligefrem, at han med blyant har rettet de oprindelige ﬁre slag til to slag. Samme rettelse ses imanuskriptet til korversionen i A dur, nr. 306(MS 32 3062).
74 Carl Nielsen spiller Carl Nielsen: Tre fonografvalser fortæller, CD, SBCD 05, Århus, 2003.
75 Se Niels Krabbe, “Musikken” i booklet til Carl Nielsen spiller Carl Nielsen, Tre fonografvalser fortæller,
CD, SBCD 05, Århus, 2003.
76 For en nærmere redegørelse for kantatens tilblivelse, se indledning til CNU III/3, s. xiv-xviii.
77 Her til teksten “Hæder til Digtets Drot”; se CNU
I/6, s. lvi-lxi og s. 284-285.

would give rise directly to the two volumes constituting A Score of Danish Songs (see pp. 50-63) and indirectly to Nielsen’s own Hymns and Spiritual Songs. 50 new

75 Nielsen’s manuscript for the version in Melodies
for the Songbook ‘Denmark’ (MS 33 2152) even shows
his pencil correction of the original four beats to
two. The same correction appears in the manuscript of the choral version in A major (No. 306),
MS 32 3062.
76 Carl Nielsen spiller Carl Nielsen: Tre fonografvalserfortæller, CD, SBCD 05, Århus, 2003.
77 See Niels Krabbe, “Musikken” in the booklet toCarl Nielsen spiller Carl Nielsen: Tre fonografvalserfortæller, CD, SBCD 05, Århus, 2003.
78 On the composition of the cantata, see Preface to
CNU III/3, pp. xiv-xviii.
79 To the text “Hæder til Digtets Drot”; see CNU I/6,
pp. lvi-lxi, and pp. 284-285.

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bejdet med disse salmer var i alt væsentligt afsluttet iforåret 1914, men der skulle af forskellige grunde gå78

yderligere fem år, før salmerne forelå på tryk. KomMelodies for Home, Church and School in 1919. His work

ponisten var stærkt optaget af arbejdet og udtalte sigon these hymns was in all essentials complete in theofte i vendinger, der viser at han også var tilfreds med

spring of 1914, but for various reasons ﬁve more years

resultatet. F.eks. hedder det i et brev til hustruen om

80

were to pass before they were printed. Nielsen was“Forunderligt at sige” (nr. 50):

79

completely absorbed by the work and often expressed
himself in terms that show that he was also satisﬁed“Siden Du rejste har jeg skrevet tre Salmer, hvoraf

with the result. For example, in a letter to his wifede to hører til de allerbedste og den ene er vistnok

81

concerning “How wonderful to ponder” (No. 50):den smukkeste jeg endnu har komponeret. Jeg er saa
glad ved denne Melodi at jeg maa spille den af og til“Since you left I’ve written three hymns, of which

for mig selv; den er saa ligefrem at Du maaske ved at

two belong to the very best and one is probably the

høre den første Gang vil synes, Du har kendt den helt

most beautiful I have yet composed. I like this melo-

fra Din spædeste Barndom af. Baade Melodien og dens

dy so much that I have to play it to myself once in a

Harmonier kom strax helt af sig selv.”

80

while; it is so natural that when you ﬁrst hear it you
think you must have known it from tenderest child-Og om “Der er en Vej, som Verden ikke kender”

hood. Both the melody and its harmonies came to me(nr. 43) skriver han:straight away and of their own accord.”

82“Saa satte jeg mig til at arbejde paa de sidste Salmer
And about “There is a way from mortals hid forever”

og nu er det Slut. Jeg skrev omtrent tre helt færdig

(No. 43):

Søndag Aften og en af Grundtvig som hedder: ‘Der er[en] Vej som Verden ikke kender’ er bleven en af de al-“Then I got down to my work on the latest hymns,

lerbedste. Slet ikke særlig original eller saadan noget,

and now I’ve ﬁnished. I wrote nearly three from start

men uendelig velskabt og fuldbaaren, og ligefrem. Jeg

to ﬁnish on Sunday evening, and the one by Grundt-

er saa forelsket i denne Melodi at jeg spiller den ﬂere

vig which goes: “There is a way from mortals hid for-Gange om Dagen og synes bedre og bedre om den.
Det er underligt som det er gået med disseever” has turned out to be one of the very best. Not
especially original or anything like that, but perfectly

Melodier. Det er som om det ikke er mig der laver

shaped, healthy. I love this melody so much that I playdem; men de kommer ligesom smaa Dyr eller Fugle

it several times a day and like it more and more.

ind i min Stue og beder om at komme med. Jeg un-

It’s remarkable how things have gone withdrer og glæder mig saa ofte over dette Arbejde fordi

these melodies. It’s as though it wasn’t me who madedet er en hel anden Verden end den hvori mine store

them; but they come into my room like little crea-

Ting hører hjemme.”

81

tures or birds and ask to go with me. I marvel and takepleasure in this work so often because it’s a complete-

78 Arbejdet og planerne om udgivelsen er dokumenteret i en række dagbogsnotater og breve:
17.1.1914, 26.1.1914, 28.2.1914, 6.3.1914, 18.3.1914,
26.4.1914, 18.3.1915 og 19.3.1915.
79 Den anden af de to “allerbedste” fra efterfølgende
citat er “Naar jeg betænker Tid og Stund” (nr. 70).
80 Brev til Anne Marie Carl-Nielsen, 28.2.1914.
81 Brev til Anne Marie Carl-Nielsen, 22.4.1914.

83

ly different world from that of my larger things.”

80 The work and plans for publication are documented in a series of diary entries and letters:
17.1.1914, 26.1.1914, 28.2.1914, 6.3.1914, 18.3.1914,
26.4.1914, 18.3.1915 and 19.3.1915.
81 The second of the two “very best” melodies referred to in the following quotation is “As I consider time and day” (No. 70).
82 Letter to Anne Marie Carl-Nielsen, 28.2.1914.
83 Letter to Anne Marie Carl-Nielsen, 22.4.1914.

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Og hele situationen omkring kirkesangen i Danmark
sammenfatter han med ordene: “Vor Kirkesang heri Landet er nemlig gaaet tilbage og bliver værre og
And he summarises the general situation regardingværre. Kunde jeg bidrage blot en ringe Del til at rejse

church singing in Denmark as follows: “Our church

Smagen igen, vilde jeg være lykkelig.”82

I sit arbejdet med disse sange ﬁk han stor hjælp

singing in this country has gone backwards and isgetting worse and worse. If I could just contributeaf en af sine elever, organisten Paul Hellmuth. Carlin a modest way to raising the level of taste again, I

Nielsen har tilsyneladende anset ham for mere kyndig ishould be happy”.

84

harmonisering af salmemelodier end han selv var; såle-In his work on these songs Nielsen was muchdes fremgår det af kladderne til ﬂere af sangene, at Carlhelped by one of his pupils, the organist Paul Hell-Nielsen løbende sendte nye melodier til Hellmuth – en-

muth. Nielsen evidently saw him as more expert inten for at få korrigeret sine egne harmoniseringer eller

harmonising psalm melodies than he was himself;

for at få nye harmoniseringer af Hellmuth. I et par til-thus it appears from many of the drafts that Nielsenfælde foreligger oven i købet to fuldstændige harmoni-

regularly sent new melodies to Hellmuth, either toseringer af henholdsvis Carl Nielsen og Paul Hellmuth,

have his own harmonisations corrected or to get new

hvorefter den endelige udsættelse efter fælles aftale er

ones from Hellmuth. In a couple of cases we have com-kommet til at bestå af en blanding af de to harmonise-plete harmonisations by both men, after which the83
ringer. På baggrund af den betydelige indﬂydelse Hell-deﬁnitive version consisted by mutual agreement of amuth har haft på det endelige resultat, kan man undre85
mixture of the two. Given the signiﬁcant inﬂuence

sig over, at hans navn ikke ﬁgurerer i udgaven.
Den konkrete anledning til, at Carl Nielsen i

Hellmuth had on the ﬁnal result, we may marvel at thefact that his name does not ﬁgure on the publication.

disse år kastede sig over en genre, han ikke tidligere

The speciﬁc impulse for Nielsen’s interest

havde dyrket, synes at have været en opfordring fra denin these years in a genre he had not previously cul-grundtvigianske frimenighedspræst Valdemar Brücker,

tivated seems to have been an invitation from the

medudgiver af Salmebog for Kirke og Hjem i 1892, om at

Grundtvigian priest of the independent church, Val-skrive nye melodier til en række af Grundtvigs digte,

demar Brücker, co-editor of the Salmebog for Kirke og

hvortil man hidtil havde anvendt allerede eksisterende

Hjem in 1892, to produce new melodies to a number

84
melodier, fortrinsvis af tysk herkomst. I forbindelseof Grundtvig’s poems, to which already existing tunes

med arbejdet præciserede Carl Nielsen opgaven i ven-86

had hitherto been used, chieﬂy of German origin. In

dinger, der kan minde lidt om programerklæringenconnection with his work Nielsen deﬁned the task in

fra hæfterne med En Snes danske Viser: “Sagen er, at èns

terms rather reminiscent of his manifesto in the vol-subjektive Følelser maa holdes til en vis Grad nedeumes of A Score of Danish Songs: “The fact is that one’s85
og Valget af Toner er ret begrænset.” Det har været

subjective feelings have to be to a certain extent sup87

pressed and the choice of notes is severely limited”.

82 Brev til Julius Röntgen, 4.5.1915, citeret efter Møller og Meyer (1954), s. 146.
83 Mest udpræget gælder det harmoniseringen
af “Forunderligt at sige” (nr. 50), (MS 33 2098).
Se faksimile s. 153-154 samt Torben Schousboe,“Barn af Huset –? Nogle tanker og problemer omkring et utrykt forord til Carl Nielsens ‘Salmer og
aandelige Sange’”, Dansk Kirkesangs Årsskrift 196970, København 1971, s. 75-91.
84 Jf. brev fra Carl Nielsen til Julius Röntgen,
4.5.1915 citeret fra Meyer og Møller (1954), s. 146
og Valdemar Brückers brev til Carl Nielsen,
9.3.1914 (CNA, I.A.b.8).
85 Brev til Anne Marie Carl-Nielsen, 26.1.1914.

84 Letter to Julius Röntgen, 4.5.1915, quoted from
Møller & Meyer (1954), p. 146.
85 This applies most conspicuously to the harmonisation of “How wonderful to ponder” (No. 50), (MS 33
2098). See also Torben Schousboe, “Barn af Huset–? Nogle tanker og problemer omkring et utrykt
forord til Carl Nielsens ‘Salmer og Aandelige
Sange’”, Dansk Kirkesangs Årsskrift 1969-70, Copenhagen 1971, pp. 75-91. See facsimile, pp. 153-154.
86 Cf. letter from Nielsen to Julius Röntgen, 4.5.1915(Meyer & Møller (1954), p. 146) and Valdemar Brücker’s letter to Carl Nielsen, 9.3.1914 (CNA, I.A.b.8).
87 Letter to Anne Marie Carl-Nielsen, 26.1.1914.

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helt naturligt for Carl Nielsen at inddrage vennen
Thomas Laub i sine overvejelser, og det fremgår af korrespondancen mellem de to, at de har ført en intens
It was quite natural for Nielsen to bring his friend

diskussion om begreber som “kirkestil”, “kirkelighed”,

Thomas Laub in on his reﬂections, and their corre-men også, at de har ligget ganske langt fra hverandre

spondence reveals that they had intense discussions

i deres synspunkter; Laub har tydeligvis ment, at

about terms such as “church style”, “sacred” and soCarl Nielsen her begav sig ind på et område, som hanon, but also that they had quite divergent points of(Laub) havde langt større adkomst til at betræde. Hans

86

88view; Laub clearly thought that Nielsen was here en-

berømte karakteristik af Carl Nielsen i denne sammen-

tering a ﬁeld in which he (Laub) had a much greaterhæng siger mere end mange ord: Carl Nielsen var joright to work. His famous phrase about Nielsen in thisikke “Barn af Huset”, han havde hverken Laubs person-

context says more than many words: Nielsen was in-lige forhold til det kirkelige eller hans kirkemusikalske

deed not “a child of the house”, having neither Laub’s

ballast. Endelig spillede det vel også en rolle, at Laubpersonal relationship with the church nor his expe-i disse år var i gang med sit hovedværk omkring kom-rience with church music. It is also relevant that inposition af salmemelodier, Dansk Kirkesang. Gamle og

these years Laub was engaged on his capital work con-nye Melodier fra 1918. Hertil skal dog bemærkes, at Carltaining psalm melodies, Dansk Kirkesang. Gamle og nye

Nielsens samling både omfatter “salmer” og “åndelige

Melodier, published in 1918. It should be noted, how-sange”, og at han således allerede i titlen tilkendegi-

ever, that Nielsen’s collection embraces both “hymns”

ver, at ikke alle de indeholdte sange er tænkt til brug iand “spiritual songs”, and that he had therefore an-

gudstjenesten og skal vurderes som sådanne.

87

Laubs holdning til Carl Nielsens projekt frem-

nounced already in the title that not all the songs
were composed with church services in mind or were89

går utvetydigt af et brev, han i 1918 – altså endnu
inden sangene var udkommet – skrev til komponisten

to be judged as such.

Thorvald Aagaard:

Laub’s attitude to Nielsen’s project emerges
unequivocally in a letter of 1918 – before the songs had“Han [Carl Nielsen] lavede jo for et par år siden 50 sal-been published – to the composer Thorvald Aagaard:

memel., som han viste mig. Jeg var ikke glad over dem“A couple of years ago he [Nielsen] composed 50 psalmog bad ham vente til vi sammen havde studeret den

melodies, which he showed me. I didn’t like them,klassiske kirkesang. Nu har han i disse år betænkt sig

and I asked him to wait until we had studied the clas-

på tingen, og – ikke forandret sin mening, og jeg jo da

sic church song tradition together. Since then he hasheller ikke min. Vi forstår ikke hinanden og det er enthought it over but not changed his mind; and norpine for os begge. Jeg tror at man skal være “barn af

have I. We do not understand one another, and thishuset”, elske dets skatte, selv have brugt dem (talt til

is painful for us both. I believe that one should be ‘a

Gud gennem dem), ellers véd man ikke hvad de træn-child of the house’ and love its traditions, having used

ger til og hvor man skal tage det fra. Ja det må vi talethem (talked to God through them); otherwise oneom, når vi ses.”88

cannot know what they require and where to get it
90

from. Well, we should talk about this when we meet”.

86 Den bevarede del af denne korrespondance omfatter i alt væsentligt breve fra Laub til Carl Nielsen; breve fra Carl Nielsen til Laub kendes med
en enkelt undtagelse ikke.
87 Det er næppe muligt at foretage en entydig skelnen mellem “salmer” og “åndelige sange”, hverken ud fra teksten eller musiken; umiddelbart
må adskillige af Grundtvigs tekster i samlingen
dog nok opfattes som “åndelige sange” snarere
end egentlige salmer.
88 Brev fra Laub til Aagaard af 18.10.1917 (NKS 4737,
I (1,4)).

88 With the exception of one letter, the surviving
correspondence is entirely from Laub to Nielsen.
89 It is hardly possible to make an unambiguous distinction betwwen “hymns” and “spiritual songs”– neither from the text nor from the music – although some of Grundtvig’s texts must probably
be labelled “spiritual songs” rather then hymns.
90 Letter from Laub to Aagaard of 18.10.1917 (NKS
4737, I (1,4)).

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Laubs mest indgående vurdering af Carl Nielsen som
salmekomponist fremgår af det meget lange, bådemeget direkte men også meget nænsomme brev, som
Laub’s most searching evaluation of Nielsen as a

han skrev i 1917:

psalm composer may be found in his very long, direct,“Grunden til at du, efter min mening, har forfejlet

but also gentle letter of 1917:målet, tror jeg kommer af vejen hvorad du er kom“The reason why, in my opinion, you have missed themet til opgaven. En salmekomponist må være barn af

target is that I believe you have approached the task

huset, hvormed jeg ikke tænker på at han har en pa-

from the wrong direction. A psalm composer must be

tenteret tro, – hans tro kan være lille, kan være for-a child of the house, by which I don’t mean he has tokert, – men, han må være hjemme i, d.v.s. have levet

have a unimpeachable faith – his faith may be slight

i menighedssangen, helst fra barn af, kende den ved

or even misguided – but he must be at home, i.e. hebrug, den må være hans religiøse udtryksmåde, hanmust have lived with the community singing, prefer-må kende og elske alle dens skatte, hvorved jeg ikke

ably from childhood on, must know how it functions,mindst tænker på salmedigtningen […] Du er kom-and it must be his mode of religious expression; hemen til opgaven, derved at du er bleven opfordret til

has to know and love all its treasures, by which I am

at skaffe melodier af folk der vel havde kirkelig inte-

thinking not least of the hymns […] You have come toresse, men – desværre – var ‘musikalske’ d.v.s. ikke

the task through being invited to create melodies by

havde spor af udviklet sans for den levende sammen-

people who may be interested in the church but whohængende strøm, kirkesangen som den historisk er– unfortunately – are ‘musical’, i.e. with no trace of asat; de vilde have ‘kompositioner’ der kunde tilfreds-

developed sense for the living, coherent stream, forstille en udviklet smag. En komponist har jo kald og

church song as historically established; they want topligt til at komponere; at en ydre opfordring falderhave ‘compositions’ that can satisfy a developed taste.

sammen med hans hjærtes fordring, er jo så natur-

A composer is someone who feels a calling and duty

ligt. Og så kom du til det, – men, som jeg synes, duto compose; that an external invitation should coin-

har mere leveret kompositioner der kan interessere,cide with the prompting of his heart is quite natural.

end sange der er talte ud af menighedens, folkets,

And that’s how you came to it. But, as I see it, youhjærte, eller af dit eget som én af menigheden. Vi

have made compositions that can interest people rath-er jo nu ved et meget vanskeligt punkt: jeg synes at

er than songs that are infused with the heart of theånden ikke er den rette, – og her mangler alle bevi-church community, of the people, or of your own asser. Men der er ting der kan påpeges. Nogle melodier

one of that community. We are now at a very difﬁcult

er i deres bygning sådan at de helst skal synges af

point: I think that the spirit isn’t the right one; and inenkelte, ved klavér i hjemmet, eller ved orgel på en

this area we lack all proof. But there are things thatkirkekoncert, men ikke passer til, knap kan læres af

may be pointed to. Some melodies are made so thatmenigheden i kirken. Der er dem der egentlig i stilthey should preferably be sung by few people at the(ånd) ikke skiller sig fra f.eks. Barnekows, kun at depiano at home, or with organ at a church concert, but

er strængere og sømmeligere påklædte, eller – hvad

they are not suitable for churchgoers and can hardly

jeg hellere vilde sige – ‘afklædte’ for usømmelighe-

be learned by them. Some of them are not stylisticallyder. Og en ting er meget påfaldende: en del er unød-

89

91(spiritually) distinguishable from Barnekow’s, exceptthat they are more severe and more decently clothed,89 Christian Barnekow, hvis “romantiske” salmer
Laub stod i et vist modsætningsforhold til.

or – as I would rather say – ‘stripped’ of indecencies.

91 Christian Barnekow, well-known composer of “romantic” hymn tunes, which among others Laub
opposed.

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vendige: d.v.s. vi har melodi til dem der er meget
bedre end vi nu kan gøre dem.”90

And one thing is very remarkable: some of them areOgså ﬂere år efter udgivelsen af Salmer og aandelige

unnecessary: i.e. we have melodies for the texts that

Sange fortsatte Carl Nielsen og Laub deres diskus-

92

are much better than we can make them nowadays.

sioner om emnet. I et brev fra 1924 fremhæver Laubderes forskellige syn på den historiske arv som det

Several years after the publication of the Hymns andafgørende punkt:Spiritual Songs, Nielsen and Laub continued their discussions. In a letter of 1924 Laub put his ﬁnger on“I det hele ser vi (d.v.s. du på den ene side og så jeg og

their different views of the historical legacy:

mine venner i arbejdet på den anden) grundforskelligt på spørgsmålet. For os er kirkesangen en helhed,“On the whole we (I mean you on the one hand anden sammenhængende strøm, båren af den samme

I and my collaborators on the other) view the ques-ånd. Vi betragter den gl. sang som et arvegods, vi måtion fundamentally differently. For us, church sing-erhverve på ny, podes ind i; og så tror vi at ånden i

ing is a unity, a coherent stream, borne by the sameden vil skabe den nye sang vi trænger til, men som i

spirit. We consider the old hymns as an inheritanceet og alt er af samme grundvæsen. For dig er den en

we have to re-acquire, to graft on again; and so weherlig klassisk musik, rig på impulser, som kan give

believe that its spirit will create the new songs we areskub til en ny og anden herlig musik. Og du er i dinin need of, but which are fundamentally of the samegode ret til [at] se sådan på sagen og handle derefter,

kind. For you, it is a splendid classical repertoire, rich

– vel at mærke når du stiller dig på det andet område

in impulses, which can give rise to a new and differ-– den absolute musik.”91

ent, splendid kind of music. And you are within yourrights to see things that way and to act accordingly

Salmer og aandelige Sange udkom i 1919 på Wilhelm– but only when you enter the other ﬁeld, that of ab-

Hansens Musikforlag; samlingen indeholder 49 sangesolute music.”

92
fortrinsvis til tekster af Grundtvig og Brorson. I et

93

fyldigt forord gør Carl Nielsen rede for sine ideer med
arbejdet; forordet kom dog ikke med i den endeligeHymns and Spiritual Songs was published in 1919 byWilhelm Hansens Musikforlag; it contains 49 songs,
94

udgave, måske fordi Carl Nielsen ikke ønskede at gå

predominantly to texts by Grundtvig and Brorson.

nærmere ind på et område, hvor han stod i et vist

In an extensive foreword Nielsen conveyed his aims;modsætningsforhold til Thomas Laub, der i skrift og

but that did not appear in the eventual publication,

tale havde beskæftiget sig med den danske kirkemu-

perhaps because Nielsen did not want to go into any

sik og salmesang siden århundredskiftet, og som imore detail in an area where he stood to some extent

1918 – i forordet til Dansk Kirkesang – selv havde givet

in opposition to Thomas Laub, who had been occupied
with Danish church music and psalm-singing, both

90 Brev fra Laub til Carl Nielsen af 18.9.1917 (CNA,
I.A.b.15).
91 Brev fra Laub til Carl Nielsen, 26.3.1924, citeretefter Torben Schousboe, “Barn af Huset –? Nogle
tanker og problemer omkring et utrykt forord tilCarl Nielsens ‘Salmer og aandelige Sange’”, Dansk
Kirkesangs Årsskrift 1969-70, København 1971, s. 77.
92 27 tekster af Grundtvig, 11 af Brorson, to af Kingoog en enkelt af hver af ni andre forfattere.

in written and spoken word, since the turn of the century, and who in 1918 – in the foreword to Dansk Kirke-

92 Letter from Laub to Nielsen of 18.9.1917 (CNA,
I.A.b.15).
93 Letter from Laub to Nielsen of 26.3.1924, quoted
from Torben Schousboe, “Barn af Huset –? Nogle
tanker og problemer omkring et utrykt forord
til Carl Nielsens ‘Salmer og Aandelige Sange’”,Dansk Kirkesangs Årsskrift 1969-70, Copenhagen
1971, p. 77.
94 27 texts by Grundtvig, 11 by Brorson, two by
Kingo and one each by nine other authors.

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93
sit bud på kirkesangens fornyelse. Forordet gengives

her i sin helhed:sang – had himself made his bid for the renewal of95“Der gives Mennesker, som har den Evne bestandig

church singing. Nielsen’s unpublished foreword fol-at sprede Hygge og Varme omkring sig. Det er somlows in its entirety:

Regel hverken de aandfuldeste eller mest udprægede
af Karakter, der er i Besiddelse af disse værdifulde“There are people who have the gift of constantly

Egenskaber; oftest er det Mennesker, der mindst af alt

spreading cosiness and warmth around them. As aønsker at imponere eller paatvinge andre en Mening,rule it is neither the most spiritual nor the most re-en anden Smag eller hvad det nu kan være, idet en

markable in character who possess that valuable qual-

dybt menneskelig Følelse siger dem, at det er ganske

ity; very often they are people who would be the last

ufrugtbart at ville reformere ved Hjælp af Tvang, men

to impose or force on others an opinion, another taste

at det, det kommer an paa, er at søge at faa det godeor whatever, since a deeply human instinct tells them

til at gro ved de enkleste Midler, saa forsvinder det

that it is totally fruitless to wish to reform by means

slette saamænd nok af sig selv.
Nærværende Melodi-Samling er forsøgt kom-of compulsion, but that what is needed is to allow
goodness to grow by the simplest of means, so thatponeret ud fra en lignende Grundfølelse, blot med

the bad may therefore shrivel away of its own accord.

Ønsket om derved at være med til herhjemme at for-The present collection of songs represents

bedre Salmesangen, der ofte – det vil jeg ikke nægte

an attempt to compose from the basis of a similar– har bragt min Sjæl til at gyse. Her er det forøvrigt

instinct, only with the wish to contribute to the im-for ens Indtryk ikke altid Sangen i og for sig, men iprovement of hymn singing, which has often – I can-ligesaa høj Grad Omgivelserne, der er det afgørende;

not deny it – made me shudder. Here the thing thatdet støder mig ikke at høre uanstændig Musik op fra

is decisive for one’s impression is not always the songen Kælderhals; men under Kirkens Hvælvinger, i en

itself, but equally its environment. It does not offend

af Landets Skoler eller i et godt dansk Hjem venter og

me to hear indecent music coming up from the steps

fordrer jeg Velanstændighed i Tale og Tone.
Besynderligt saa ukritisk store og ellers ud-of a beer cellar; but beneath the arches of a church, in
one of the country’s schools or in a good Danish homemærkede Kredse af det danske Folk forholder sig

I expect and demand decency in speech and singing.

overfor Melodierne til vor Literaturs skønneste og

One wonders why large or otherwise signiﬁ-

karakterfuldeste Digte; det er som om det var heltcant sectors of the Danish people have a quite uncriti-

ligegyldigt, hvorledes Tonerne følger paa hinanden,

cal attitude to the melodies set to our literature’s mostog hvorledes de slutter sig til Ordene. Men endnu

beautiful and most characterful poems; it is as thoughmere besynderligt er det, at selv blandt vore dygtigste

they were quite indifferent as to how the notes should

Komponister, som virkelig er istand til at frembringe

follow one another and how these should relate tointeressante og underholdende Operaer og Symfonier,

the words. But even more peculiar is the fact thater Sansen for de enkle og klare Toneforhold i en en-even among our most distinguised composers, whostemmig Melodi ofte bleven saa afstumpet og sløvet,are really able to create interesting and entertaining

at de ikke vilde kunne fælde en rigtig Dom, ifald man

operas and symphonies, the sense for the simple andclear tonal relationships in a single-line melody has

93 Thomas Laub, Dansk Kirkesang. Gamle og nye Melodier. 1918 (forordet dateret 1.7.1918).

often been so blunted and dulled that they would not

95 Thomas Laub, Dansk Kirkesang. Gamle og nye Melodier. 1918 (Preface dated 1.7.1918).

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gav dem en halvgod og en fortrinlig Melodi, bestaaende af nogle faa Toner, til Bedømmelse. Her er nogetat tænke over; thi ifald Sansen for det grundlæggende
be able to make a correct judgment if one were to ask

gaar tabt, er i det lange Løb alting tabt.

them to assess one half-good and one excellent melo-

Som man af nærværende Samling vil se, er

dy consisting of just a few notes. Here is something toden største Del af Texterne af Grundtvig. Til mange

ponder over, for if the instinct for such fundamental

af Texterne har tidligere været benyttet gamle tyske

things is lost, in the long run so is everything else.

Melodier; her mener jeg, danske Komponister bør for-As may be seen from the present collection,

søge at tilbageerobre Grundtvig med nye Toner, thi

the greater part of the texts are by Grundtvig. For

det, der satte hans mægtige Sind i Svingninger, var

many of these texts, it had been the custom to use olddog dansk Natur og nordisk Tænkemaade.
Der ligger et langt Studium af Kirkesangen

German melodies; here I think that Danish composers
should try to win back Grundtvig with new tones, forefter Reformationen bag disse Melodier. Hvad Udsæt-what set his great spirit into vibration was surely thetelsen angaar, har jeg bestræbt mig for at gøre den saa

Danish countryside and the Nordic way of thinking.

klar og enkel, fra et vist Synspunkt saa uinteressant,A long study of church song after the Reformation underpins these melodies. So far as my settings

som muligt; man skal ikke skænke Snapse, hvor etGlas Kildevand bør kunne slukke Tørsten.
Jeg ønsker oprigtigt, at man ikke vil jage hen-are concerned, I have sought to make them as clear
and simple, from a certain point of view as uninterest-

over Melodierne ved ﬂygtigt Gennemsyn, men at man

ing, as possible; one should not serve schnapps when avil opholde sig ved een ad Gangen; hvor ubetydelige

glass of spring water should be able to slake the thirst.

mange af dem kan synes, saa har dog hver sit eget

I sincerely wish that these melodies should

Hjerte og Sind.

not be skimmed over at a rapid glance, but that oneUdsættelsen er gjort paa den sædvanlige

should get to know them one at a time; however insig-

Maade, saa Melodierne kan udføres paa Orgel, Harmo-

niﬁcant many of them may seem, each one in fact has

nium, Klaver eller af et ﬁrstemmigt blandet Kor.”

94

its own heart and mind.
The layout is in the customary manner, so thatEn række af sangene blev opført ved koncerter bådethe melodies may be performed on the organ, harmo-

før og efter de forelå på tryk, men den eneste større

96

nium or piano, or by a four-part mixed choir.”anmeldelse, som synes at foreligge, fremkom i Højskolebladet; anmelderen, Kaj Jørgensen, greb straks

A number of these songs were performed at various

fat i det prækære spørgsmål om samlingens forhold

concerts both before and after they were available

til Laubs Dansk Kirkesang; efter først at have omtalt iin print, but the only review of any length seems topositive vendinger en række sange til tekster, der ikke

have been that in Højskolebladet; the reviewer, Kaj Jør-

tidligere havde været sat i musik, fortsatte han med

gensen, engaged straight away with the difﬁcult ques-mere kritiske bemærkninger til de sange, hvor der al-tion of the collection’s relationship to Laub’s Dansk

lerede i forvejen forelå en melodi:

Kirkesang; having ﬁrst discussed in positive terms a
number of songs to texts not previously set to music,

94 Kladde og renskrift i CNA, I.D.3.a. (kladden dateret “Kjøbenhavn 4. December 1919)”, citeret efter
Fellow (1999), s. 684-685.

he continued with more critical remarks on thosewhere a melody already existed:

96 Draft and fair copy in CNA I.D.3.a. (draft dated“Copenhagen 4 December 1919)”, quoted from
Fellow (1999), pp. 684-685.

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“Til tekster som ‘Denne er Dagen’ [...] o. ﬂ., som Carl
Nielsen her har komponeret, ﬁndes der jo også bådegamle og nye melodier i Th. Laubs ‘Dansk Kirkesang’.
“To texts such as ‘This is the day that the Lord did

Og med disse kan Carl Nielsens melodier ikke målecreate!’ [...] and others, which Nielsen has here set tosig, hverken i folkelig kraft og enfold eller i den natur-

music, there are actually both old and new melodies

lige anvendelse af kirketonearterne, der lader det hele

in Thomas Laub’s ‘Danish Church Song’. And Niel-føles så ‘selvfølgeligt’ og skaber den rette kirkestil.

sen’s melodies cannot measure up to them, either in

Men i sig selv indeholder melodierne mange ﬁne og

their ‘folkelige’ power and simplicity or in the natural

smukke enkeltheder, hvorfor man altid vil have glæde

use of church modes, which makes the whole feel soog berigelse af at lære dem at kende.”95‘obvious’ and creates the correct church style. Yet inthemselves the melodies contain many ﬁne, beautiful

Det lader ikke til at samtiden har udvist Salmer og

details, so that one will always derive pleasure and en-

aandelige Sange den helt store interesse; i hvert faldrichment from getting to know them.”

97

meddeler forlaget lakonisk i et brev til Carl Nielsen i1929: “Kan ikke få solgt ‘Salmer og aandelige Sange’”

It does not seem that Nielsen’s contemporaries

og foreslår derfor, at han får nedsat den udbetalte

showed all that much interest in the Hymns and Spir-tantieme (fra 25% til 15%), “da Tiderne er saaledes, at

itual Songs; in any case his publisher mentioned la-vi anser det for nødvendigt at gaa ned i Prisen.”96

I forbindelse med arbejdet på Salmer og aan-conically in a letter to him of 1929: “We cannot sellthe ‘Hymns and Spiritual Songs’”, and therefore sug-delige Sange komponerede Carl Nielsen yderligere

gested that Nielsen should receive a reduced royalty

ﬁre sange, som uvist af hvilken grund ikke kom med(from 25% to 15%), “since the times are such that wei samlingen; det drejer sig om “Est du modfalden,

consider it necessary to reduce our price”.

98kære Ven” (nr. 234), “Som Dug paa slagne Enge” (nr.

In connection with his work on this collection, Nielsen composed four additional songs, which235), “Stille, Guds Folk” (nr. 425) og “O, du Guds
Lam!” (nr. 426).

for reasons unknown were not included in the publication; these are “Are you discouraged, dearest friend”

To aandelige Sange (nr. 115-116)(No. 234), “As dew on grassy acre” (No. 235) , “Stille,

I 1919 publicerede tidsskriftet Nordens Musik to sangeGuds Folk” (No. 425), and “O, du Guds Lam!” (No. 426).

af Carl Nielsen under fællestitlen To aandelige Sange;97

det drejer sig om “Den store Mester kommer!” (nr. 115)

Two Spiritual Songs (Nos. 115-116)

og “Udrundne er de gamle Dage” (nr. 116). I en note i

In 1919 the journal Nordens Musik published two songs
99hæftet anføres det, at “Udsættelsen af begge Melodier

by Nielsen under the title Two Spiritual Songs; these are

kan benyttes som den er ogsaa til ﬁrstemmig Kor,

“The greatest master cometh!” (No. 115) and “Gone aremen isaafald Nr. II en Tone højere” (se nr. 312).

98

the days, they’re past and olden” (No. 116). According to
an explanatory note, “The setting of both melodies can

95 Højskolebladet, 51 (1920), sp. 1528.
96 Brev fra Wilhelm Hansen til Carl Nielsen
19.4.1929 (DK-Kk, Wilhelm Hansen Arkivet, 1923
A-G).
97 Nordens Musik, 1/9 (1919) s. 97-98.
98 På et udateret nodeark (sendt til Frede Schandorf
Petersen i 1948) har Rued Langgaard noteret salmen “Den store Mester kommer!” for ﬁrstemmigt
kor i ﬁs mol og med en afvigende harmonisering,påført følgende bemærkning: “Harmoniseretd.v.s. vredet paa Plads af R. Langgaard. Og saaledes er det med al Carl Nielsen, selv kunne han
ikke gøre det ordentlig og saa faar han oven ikøbet Ros, Navn af Danmarks største Komponist.
Skam Dem!” (privat eje).

also be used as it is for four-voice choir, but in that case100

No. II should be a whole tone higher” (see No. 312).

97 Højskolebladet, 51 (1920), col. 1528.
98 Letter from Wilhelm Hansen to Nielsen of 19.4.1929(DK-Kk, Wilhelm Hansen Arkivet, 1923 A-G).
99 Nordens Musik, 1/9 (1919), pp. 97-98.
100 On an undated piece of music paper (sent to Frede
Schandorf Petersen in 1948) Rued Langgaard notated this psalm “The greatest master cometh!” forfour-voice choir in F sharp minor and with a different harmonisation, adding the following remark:“Harmonised, i.e. twisted into place, by R. Langgaard. And so it is with Carl Nielsen, though hecouldn’t do it properly and into the bargain hegets praise and a reputation as Denmark’s greatest
composer. Shame on you!” (private ownership).

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Den ene af sangene, “Udrundne er de gamle
Dage”, var blevet komponeret to år tidligere som
følge af en løbende polemik gennem et par numre af“Gone are the days, they’re past and olden” had

Højskolebladet i 1917. Thomas Laub havde i en større

been composed two years previously, following a polem-

artikel angrebet niveauet for den grundtvigske me-

ical exchange in a number of issues of the Højskolebladet

nighedssang bl.a. med henvisning til den gængse me-in 1917. In a lengthy article Thomas Laub had attacked

99
lodi til “Udrundne er de gamle Dage” med ordene

the level of Grundtvigian communal singing, with ref-“så har vi netop samlet i ét: ånd og knaldroman”.

erence to, amongst others, the then current melody

Carl Nielsen støttede i en efterfølgende artikel Laubs

101

for “Gone are the days, they’re past and olden”.

As he

put it: “so there we have everything in one: spirit and102

shocker”.

In a subsequent article Nielsen supported
103

Laub’s viewpoint,

100

101

synspunkter,og bladet opfordrede ham derfor til

at komponere en ny melodi til Grundtvigs tekst, sombragtes i bladet den 10. august 1917:

and the journal therefore invited

him to compose a new melody to Grundtvig’s text,“Som et lille Efterslæt af Musikstriden bringer vi i det-

which was printed in the journal on 10 August 1917:

te Nummer en ny Melodi til ‘Udrundne er de gamle
Dage’. Den er kommen til Verden paa vor Opfordring“As a little postcript to our musical polemics, we

og de, der fulgte Forhandlingen i Maj og Juni, vil med

publish in this number a new melody to ‘Gone areGlæde – eller i hvert Fald med Interesse – stifte Be-

the days, they’re past and olden’. This came into thekendtskab med den.”

102

world by our invitation, and those who followed thestory in May and June will be glad – or at any rate in104

terested – to make its acquaintance.”

Sagen gav anledning til så megen debat i Højskolebladet, at redaktionen til sidst måtte lukke for yderligereindlæg. I den omtalte artikel skrev Carl Nielsen om

The affair occasioned so much debate in Højskolebladet

digtet og dets forhold til den eksisterende melodi afthat the editors eventually had to declare the cor-L. Nielsen:

respondence closed. In the above-mentioned article
Nielsen wrote about the poem and its relation to the“Naar du en Stund er alene, og alting er stille om-

existing melody by L. Nielsen:

kring dig, tag saa Grundtvigs Digt og læs det et Par
Gange roligt igennem og lad Ordene faa Tid til at“If you can ﬁnd a quiet moment to yourself, takesynke tilbunds i dig.
[citat af første vers]

Grundtvig’s poem and read it through calmly a cou-

Højt i Stilen, stort og værdigt i Stemningen er

ple of times, giving the words time to sink in thor-

dette Digt!

oughly.
[quotation of the ﬁrst verse]
How elevated in style, how great and digniﬁed

99 Ifølge Menighedens Melodier til brug i Kirke og Hjem
fra 1914 var der ikke nogen selvstændig melodi
til Grundtvigs digt, men koralbogen optegner i
alt 16 melodier som velegnede til teksten, heriblandt L. Nielsens melodi til “Saa vidt som Solens
Straaler stige” (nr. 495 i Menighedens Melodier),som blev emnet for den videre debat.
100 Fellow (1999), s. 199.
101 “Folkelig Musikopdragelse” citeret fra Fellow(1999), s. 199-202.
102 Højskolebladet, 32 (1917), sp. 1005-1006.

is the atmosphere in this poem!

101 According to Menighedens Melodier til brug i Kirkeog Hjem of 1914 there was no special melody for
Grundtvig’s poem, but the chorale book notes 16
melodies in all as appropriate to the text, including L. Nielsen’s to “Saa vidt som Solens Straaler
stige” (No. 495 in Menighedens Melodier), whichbecame the topic for further debate.
102 Fellow (1999), p. 199.
103 “Folkelig Musikopdragelse”, quoted from Fellow(1999), pp. 199-202.
104 Højskolebladet, 32 (1917), cols. 1005-1006.

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Vilde nu ikke ethvert tænksomt Menneske forsøge at fremsige det ud fra denne Karakter. Jeg bederLæseren forsøge det.
Og tag saa Melodien, som vi alle kender. – Hør,

Now, every thinking person should try to recite it on the basis of this character. I invite the reader

hvor tarveligt og overdrevent den himler op paa Or-

to do so.

dene ‘de gamle Dage’ som et Menneske, der ikke erThen, take the melody we all know. Hear how

Herre over sig selv og gør alt for store Fagter.
[…] de mere musikalske forstaar mig, naar

shoddily and excessively it gushes over the words ‘pastand olden’, like someone who has no self-possession

jeg lige nævner, at Tarveligheden i Melodien vel nok

and makes exaggerated gestures.

ogsaa beror paa, at den, som alle musikalske Fuskerværker, er bygget over et Par af de mest fortærskede[…] the more musical will understand me
when I just state that the shoddiness in the melody

Harmonier i det snart helt sløve Musiksystem, hvor

may also come from the fact that, like all musicalDominantseptim-Akkorden er den altbeherskende. –”doggerel, it is built on a couple of the most hackneyed harmonies in that nearly completely exhausted

Carl Nielsen var i øvrigt selv ikke helt tilfreds med ud-

language of music in which the dominant seventh issættelsen af sin egen nye melodi, og ved overførslen

all-controlling.”

til Folkehøjskolens Melodibog gjorde han akkompagnementet væsentligt lettere (sammenlign nr. 116 og 140

Nielsen himself seems to have been not entirely satis-

med nr. 147).

103

ﬁed with his setting of his own melody, to judge fromthe fact that when it was incorporated into the Folk HighEn Snes danske Viser 1915 og 1917 (nr. 87-109)

School Melody Book he signiﬁcantly simpliﬁed the accom-

Sideløbende med arbejdet med salmesangen var Carl105

paniment (compare Nos. 116 and 140 with No. 147).

Nielsen i årene efter 1914 som nævnt stærkt optaget
af den folkelige, stroﬁske sang, en interesse som de

A Score of Danish Songs 1915 and 1917 (Nos. 87-109)

kommende mere end ti år udmøntede sig i en række

Alongside his work with the Hymns in the years after

markante samlinger, alle med Carl Nielsen som med-

1914, Nielsen was, as already mentioned, strongly en-eller hovedansvarlig. Hans første opgave var hvervet

gaged with the “folkelige” strophic song, an interest

som redaktør på et melodihæfte til Johan Borups

which in the following ten years and more produced

Dansk Sangbog fra 1914 (se s. 144), hvor han bad bl.a.

a series of prominent collections, all with Nielsen ei-

Thomas Laub om at bidrage med melodier.

ther as collaborator or as leading ﬁgure. His ﬁrst taskskellige grunde var Laub ikke udelt begejstret for

was as editor of a volume of melodies for Borup’s Dan-dette projekt, men henvendelsen førte til, at han

ish Songbook from 1914 (see p. 144), to which he invitedden 2. december 1914 skrev et brev til Carl Nielsen

106Laub and others to contribute melodies.

For various

104

Af for-med en indgående beskrivelse af et helt nyt pro-reasons Laub was not entirely enthusiastic about thisproject, but the invitation led to a letter to Nielsen

103 I brev til Aagaard af 27.2.1921 skriver Carl Nielsen
om denne melodi: “‘Udrundne er’ har jeg gjort
en hel Del lettere, hvad Du vil se, ifald Du kenderden fra ‘Højskolebladet’ i sin Tid.–”
104 Laub bidrog med to sange til den planlagte Borups Dansk Sangbog: “En Sømand med et modigt
Bryst” og “Det er hvidt herude”; begge indgik
efterfølgende i En Snes danske Viser.

on 2 December 1914, in which Laub outlined in de-

105 In a letter to Aagaard of 27.2.1921 Nielsen writes
about this melody: “‘Gone are the days, they’re
past and olden’ I have made somewhat simpler– a fact you will notice if you know it from the
Højskolebladet some time ago”.
106 Laub contributed two songs to the planned Johan
Borup’s Danish Songbook: “A sailor with a plucky
breast” and “Det er hvidt herude”; both were subsequently included in A Score of Danish Songs.

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jekt.

105

Her betonede Laub, at der var et punkt, hvor

de to komponister havde fælles fodslag midt i alt det
andet, som skilte dem (og her tænkte han formentlig
tail a completely new project.

107

Here he emphasised

bl.a. på kirkesangen). I brevet hed det bl.a.:that this was something in which the two composers would be entirely in step, despite everything they

“Du véd at jeg ikke har helt ﬁdus til det ‘Borupske’

differed over (presumably thinking of church song,p. gr. af massebestillingerne og dette, at tekstvalget

amongst other things):

ikke er frit. Men – lad gå! – – Der er imidlertid en
anden ting jeg kunde have lyst til; vil du være med?

“You know that I don’t have complete trust in the

Hvad siger du om en samling på 10-12-14 danske

Borup thing, because of the number of compositions

viser, lavede af os to, 5-6-7 af hver. Det skulde værecommissioned and the fact that the choice of textsjævne viser, mit forbillede er Schulz’s ‘Lieder im

isn’t free. But let that be! – – In the meantime there

Volkston’ og Weyses ‘Morgensange’. De skulde ikke

is something else I have my eye on that I would likehenvende sig til et musikpublikum, men til almin-

to ask you to join me in. What would you say to a col-delige danske mennesker. Hovedsagen skulde ordene

lection of 10, 12 or 14 Danish songs, with each of us

være, godt (strængt) valgt blandt de store danske,

to compose ﬁve, six or seven? These should be simple

dem med kraft og natur. Epigoner skulde vrages, selv

tunes, on the model of Schulz’s ‘Lieder im Volkston’om de skriver nokså nydeligt, jeg tænker på Kålund,or Weyse’s ‘Morning Songs’. They should not be ad-Richardt, Stuckenberg o.s.v. Det bedste skulde ikke

dressed to a musical public but to ordinary Danishvære for godt, det bedste af Ewald, (mulig Brorson)

people. The main point should be the words, chosenØhlenschl., Grundtvig, Poul Møller (ikke at forglem-

well (strictly) from the great Danish poets – thoseme). Skade at Frøding ikke er dansk, men dansk bør

with power and nature. Epigones should be rejected,

det være. (Jeppe Åkjær kan da ikke måle sig med

however attractively they may write – I’m thinking

Frøding). Men – i og for sig er det ligegyldigt hvemof Kålund, Richardt, Stuckenberg and so on. The best

ordene er af (lad dem endda være af de ovenfor kas-shouldn’t be too good – the best of Ewald, (possiblyserede) blot de har det rette danske præg, blot vi har

Brorson) Øhlenschl[äger], Grundtvig, Poul Møller (last,lyst til at skrive mel. til dem, og blot vi har lyst til atbut not least). It’s a shame that Frøding isn’t Danish,

lade folk synge dem (ordene). – Da det ikke gælder

but Danish it has to be. (Jeppe Åkjær can’t be com-koncerter o. desl., bør de ikke udsættes for kor; det

pared to Frøding, can he?). But really it doesn’t mat-vilde straks betyde sangforening-opførelse o.s.v. De

ter who the words are by (they could even be by thosebør have en jævn udsættelse, ikke særlig klaverak-

rejected above); so long as they have the right Danish

komp. (se modsætningen mellem ‘Dagen går med

quality, we want to put tunes to them, and we want toraske fjed’ og ‘I fjærne Kirketårne’). Men selvfølgelig

let people sing them (the words). Since we’re not talk-må de også kunne synges uden udsættelse.

ing about concerts or the like, they shouldn’t be set[…] Min hovedgrund er denne, at give gode

for choir, which would automatically mean perform-

folk gode ord at synge på gode folkelige melodierance by singing clubs etc. They should be set simply,
with no special piano accompaniment (see the the105 En udførlig behandling af tilblivelsen af En Snesdanske Viser ﬁndes i Torben Schousboe, “‘detskulde være jævne Viser…’ Notater om et skelsættende samarbejde mellem Carl Nielsen og
Thomas Laub”, Festskrift Henrik Glahn, København
1979, s. 151-182.

difference between ‘Dagen går med raske fjed’ and ‘Ifjærne Kirketårne’). But obviously they should also be
singable without arrangement.

107 For a detailed discussion of the origins of A
Score of Danish Songs, see Torben Schousboe, “‘detskulde være jævne Viser…’ Notater om et skelsættende samarbejde mellem Carl Nielsen og Thomas Laub”, Festskrift Henrik Glahn, Copenhagen
1979, pp. 151-182.

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– og oprigtigt talt – kan vi to ikke bedst? Og så er derén ting til: To mennesker, der i mange stykker ikke
sér éns på meget, har her et punkt, hvor de sér éns,[…] My basic reasoning is to give people goodog hvor de ligesom er satte til at – ja undskyld minwords to sing to good ‘folkelige’ melodies – and frank-storsnudethed – at være førere henimod noget bedre;ly, aren’t we two the best at that? Then there’s an-– var det ikke smukt at vise sig selv og verden et sam-other thing: two people who in many respects don’t

arbejde på det gode, midt iblandt det meget der skil-

see eye to eye could here have something where theyler. Der er noget ved den tanke der tiltaler mig. Tænkdo, and where they could jointly set out – excuse mydig om og sig ikke ja af høﬂighed. […]Til min rædsel ser jeg at én jeg har gjort iarrogance – to be leaders towards something better.
Wouldn’t it be nice to show each other and the world

går til ‘vor’ samling, ﬁndes i Borups bog (som jeg

that we can collaborate on something good, in spite

har fået sendt i dag) med mel. af dig (Pigerne iof everything that divides us? There is something in

St. Hansaftensp.). Men jeg trøster mig med at hvisthat idea that attracts me. Think it over, and don’t

din også er beregnet til folkeligt brug, vilde detmåske være dobbelt smukt om vi også stod sammen

just say yes out of politeness. […]To my horror I see that one setting I madepå den måde (med hver sin mel. til samme sang).

yesterday for ‘our’ collection, is already in Borup’s– – – Tænk nu over til på Lördag og lad mig så høre

book (which I received today) with a melody by you

din mening.”

106(the Maids in Midsummer Eve Play). But I console myself with the thought that if yours is also designed

Dette brev skulle vise sig at være ikke så lidt pro-for ‘folkelig’ use, it might be doubly nice if we werefetisk, og i den kommende tid blev den skitseredealso to stand side by side in this way (each with hisplan gjort til virkelighed. Samtidig er brevet et pro-own tune to the same words). – – – Think it over until

gramskrift for hele arbejdet for at højne standarden

108

Saturday, and then let me know your opinion.”

indenfor den folkelige danske sang i almindelighedog sangen i den danske folkehøjskole i særdeleshed,

This letter proved quite prophetic, and over time theet arbejde som otte år senere i 1922 kronedes med

sketched plan became reality. At the same time theudgivelsen af Folkehøjskolens Melodibog, udgivet med

letter is a manifesto for the entire project to raiseﬁrkløveret Carl Nielsen, Thomas Laub, Oluf Ring og

standards within the “folkelige” Danish song tradi-

Thorvald Aagaard som redaktører.

tion in general and in the Danish Folk High Schools

En Snes danske Viser består af to hæfter med iin particular, a project that would be crownded eightalt 45 sange (at nummereringen kun går til 44 skyl-

years later in 1922 with the publication of the Folkdes, at sang nr. 4, “I Skyggen vi vanke”, i første hæfte

High School Melody Book, with the quartet of Nielsen,

som nævnt er komponeret af begge komponister som

Laub, Oluf Ring and Thorvald Aagaard as editors.

nr. IVa og IVb). Carl Nielsen har komponeret de 23,

A Score of Danish Songs consists of two volumes,

mens Laub står for 22 sange.

107with a total of 45 songs (the fact that the numbering
only goes to 44 is due to the fact that, as suggested by

106 CNA, I.A.b.
107 Carl Nielsen skrev oprindeligt “I Skyggen vi vanke” for ﬁrstemmigt damekor til Sanct Hansaftensspil i maj 1913. Se samlet oversigt over indholdet
af de to hæfter i kildebeskrivelsen (PR 10, PR 11).

Laub above, song No. 4 in the ﬁrst volume (“In shadows we wander”) appeared in versions by both composers, as IVa and IVb). Nielsen composed 23 in all,109

and Laub 22.

108 CNA, I.A.b.
109 Nielsen originally wrote “In Shadows we Wander” for four-part female choir for the Midsummer
Eve Play in May 1913. See the complete listing ofcontents of the two volumes in the description ofsources (PR 10, PR 11).

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Af Carl Nielsens dagbogsnotater fremgår det, hvordan
han straks kastede sig over arbejdet med sangene til
det, der skulle blive En Snes danske Viser. På kun godt
Nielsen’s diary entries reveal that he immediately

og vel 14 dage i december 1914 var det første udkast

threw himself into work on songs for what would

til 15 af sangene færdigt:

become A Score of Danish Songs. In little more than afortnight in December 1914 the ﬁrst draft of 15 of the

11.12.
12.12

11.12.

“The boys of Refsnaes, the girls of Samsoe”“Farewell, my respectable native town!”god)”)
15.12. “Underlige Aftenlufte” (CN i dagbogen “Skrev
ny Melodi”)

14.12. “Odd and unknown evening breezes!” (diary
17.12.

entry: “(not good)”)“Naar Odin vinker” (CN i dagbogen: “Bjarkemaal”)

15.12. “Odd and unknown evening breezes!” (diary
17.12.

“Farvel min velsignede Fødeby”

14.12. “Underlige Aftenlufte” (CN i dagbogen: “(ikkeand “Rose is blooming now in Dana’s borders”
12.12“De Refsnæsdrenge og de Samsøepiger” og“Rosen Blusser”

songs was completed:18.12. “Sov ind mit søde Nusseben”“As Odin beckons” (diary entry: “Bjarke-

19.12. “Vor Verden priser jeg tusindfold.”110

20.12. “Vender sig Lykken” og “Jeg bærer med Smilmaal” )
111

min Byrde”

18.12. “Sleep tight, my ducky little dear!”

19.12. “Our earth I magnify thousandfold”

22.12. “Nu er Dagen fuld af Sang”

20.12. “Fortune has lately left you” and “I take with

23.12. “Hør hvor let dens Vinger”
24.12. “Se dig ud en Sommerdag (CN i dagbogen:a smile my burden”“men – ?”)22.12. “Now the day is full of song”
23.12. “Listen, how its pinions scuttle”

25.12. “Der dukker af Disen”

24.12. “Look about one summer day” (diary entry:

28.12“Ud gaar du nu paa Livets Vej” (CN i dagbogen:“Hermed færdig med Viserne og Borup’s Sang-“but – ?”)bog.”)

25.12. “There out of the fog looms my ancestors’

30.12. “Nu springer Vaaren af sin Seng” (CN i dag-

land”
28.12

108

entry: “Wrote a new melody”)

bogen: “Majdigt”)“Now you must ﬁnd your path in life” (diary
entry: “This completes the songs and Borup’s

Som det fremgår, indeholder denne liste samtlige

Songbook.”)30.12. “Now, spring is leaping out of bed” (diary en-

Carl Nielsens bidrag til første hæfte med undtagelse

try: “May poem”)
108 Den antageligt første enstemmige nedskrift af
denne sang er foretaget på en lap papir, hvis bagside rummer følgende tekst: “Attest. At Carl Nielsen, som Familiens Overhoved, skal have Ret til
af Navn at være Værkets Ejer, ligesom der ogsaa
herved bevidnes ham min bedste Anbefaling somLærer i Contrapunkt og som Componist 11/11
1914 Margrete Rosenberg” (CNA, I.D.3.). Det har
dog ikke været muligt at godtgøre, om der er en
forbindelse mellem melodien og Margrete Rosenbergs spøgefulde ‘Attest’.

This list includes all Nielsen’s contributions to theﬁrst volume, with the exception of “In shadows we

110 Norse poem from around the year 1000, telling
about the Danish legendary king, Rolf Krake.
111 What seems to be the ﬁrst single-line notation ofthis song was made on a scrap of paper, on whose
reverse side is the following text: “Testimonial.
That Carl Nielsen, as the head of the family,
shall have the right to be named owner of thework, and that herewith I certify my heartiest
recommendation of him as a teacher of counterpoint and as a composer 11/11 1914 Margrete
Rosenberg” (CNA, I.D.3.). It has not been possible
to determine whether there is any connection
between the melody and Margrete Rosenberg’s
humorous “Testimonial”.

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af “I Skyggen vi vanke” samt ﬁre sange, der først udkom i andet hæfte.

109

I løbet af mindre end to måneder – i decemwander”, plus four songs that were not published un112

ber 1914 og januar 1915 – færdiggjorde Laub og Carl
Nielsen de i alt 23 sange, der skulle blive til første

till the second volume.

In the course of less than two months in De-hæfte af En Snes danske Viser. Ved valget af tekster an-

cember 1914 and January 1915 Laub and Nielsen pro-

vendte Carl Nielsen en del af de tekster, han havde

duced 23 songs in all, which would become the ﬁrst

lovet at sætte i musik til Borups Sangbog, mens Laub,volume of A Score of Danish Songs. In his choice of texts

som havde et omfattende kendskab det 19. århundre-

Nielsen used some that he had promised to set fordes danske lyrik, jo allerede i sit ovenfor citerede brev

Borup’s Danish Songbook, 1914, while Laub, who had an

havde givet udtryk for sine foretrukne digtere.

110

Under arbejdet kommenterede de to kompo-

extensive knowledge of 19th-century Danish lyric po113

etry, had already mentioned his favoured poets.

During their collaboration the two composers

nister hinandens frembringelser både ved personlige
møder og ikke mindst i deres ﬂittige korrespondance,

commented on each other’s work, both in face-to-facehvoraf kun den ene del – brevene fra Laub til Carlmeetings and in frequent correspondence, of which

Nielsen er bevaret. Især var det Laub magtpåliggende,

only one side – the letters from Laub to Nielsen – isat klaverakkompagnementerne føjede sig til og un-preserved. For Laub especially it was important thatderstøttede teksterne uden at påkalde sig for megenthe piano accompaniments should blend in with andopmærksomhed. I et brev præciserer han sine syns-

support the text, without calling much attention to

punkter: “I denne stilart må akkompagnementet kun

themselves. In a letter he explains: “In this style thevære støttende, jævnt klargørende, en ‘udsættelse’,

accompaniment should only be supportive: a ‘setting’,der frem for alt ikke gør sig gældende på sine egne

which above all should not assert itself on its own ac-

vegne.” Og med henvisning til J.A.P. Schulz’ stil fra

count.” And with reference to J.A.P. Schulz’s style inhans Lieder im Volkston fortsætter han senere i brevet:

his Lieder im Volkston, Laub continues:“Sad vi ikke i går og gav Schulz ære efter 130 år, og gav“Weren’t we just yesterday sitting and honouring

han os ikke glæde? – Derfor beder og besværger jeg:

Schulz after 130 years, and didn’t he give us joy? So

giv ‘Rosen blusser’ og Hauch’s de andre tekster du vil

I ask and implore you: give ‘Rose is blooming now inlave simple visemelodier til – giv dem jævne ‘under-

Dana’s borders’ and Hauch’s other texts you want tostøttelser’, der ikke taler på deres egne vegne. At akk. imake simple tunes for, give them plain ‘supports’,den stil kan blive kunstnerisk værdifulde, i al deres be-that have nothing of their own to say. That accompa-

skedenhed, så vi jo i går gang efter gang hos Schulz.”

111

niments in this style can still have artistic merit – forall their modesty – we saw yesterday time after time

109 De ﬁre sange, som kom i andet hæfte af En Snesdanske Viser, er “Hør, hvor let dens Vinger smækker”, “Se dig ud en Sommerdag”, “Der dukker af
Disen min Fædrenejord” og “Nu springer Vaaren
fra sin Seng”.
110 Allerede i forbindelse med lanceringen af hæfte I
udbredte der sig en almindelig, men fejlagtig, opfattelse af, at det alene var Laub, der havde stået
for tekstvalget, jf. brev fra Laub til Carl Nielsen
af 18.4.1915 (CNA, I.A.b.), hvor Laub bl.a. skriver:“Hvorfor siges det altid, at jeg har valgt teksterne? Jeg synes, vi enedes smukt om det, også.”111 Brev af 18.12.1914 (CNA, I.A.b.).

114

in Schulz.”

112 The four songs that appeared in the second volume of A Score of Danish Songs are “Listen, how its
pinions scuttle”, “Look about one summer day”,“There out of the fog looms my ancestors’ land”
and “Now, spring is leaping out of bed”.
113 Already in connection with the launch of volume I
there was a widespread but false perception that
Laub was the only one behind the choice of texts;
see the letter from Laub to Nielsen of 18.4.1915(CNA, I.A.b.): “Why is it always said that I chose thetexts? I think we agreed nicely about that too.”
114 Letter of 18.12.1914 (CNA, I.A.b.).

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I den forbindelse havde han mange ændringsforslag
til Carl Nielsens satser – forslag, som denne i det store
og hele alle efterkom.

112

På andre punkter lykkedes

In this connection Laub had many suggestions for al-

det derimod ikke de to komponister at blive enige.

terations to Nielsen’s textures – suggestions, that theSåledes mente Laub i det ovenfor citerede brev, at

115

However, on otherNielsens melodi til Oehlenschlägers “Underlige Af-

points the two composers did not manage to agree.

tenlufte!” hørte hjemme i en romancesamling, ikke

Thus in the above-quoted letter Laub considered thaten visesamling med folkelige melodier. Alligevel blev

Nielsen’s melody for Oehlenschläger’s “Odd and un-

melodien medtaget i første hæfte.

latter in general complied with.

known evening breezes!” belonged in a collection of romances rather than a collection of “folkelige” melodies.

I sommeren 1916 – mindre end to år efter den lyk-

Nevertheless the song was included in the ﬁrst volume.

kelige undfangelse af den første snes viser – tog de
to komponister tråden op og fortsatte arbejdet med

In the summer of 1916, less than two years after the

henblik på endnu et hæfte med viser. Også denne

successful conception of the ﬁrst score of songs, thegang diskuterede de, hvilke sange, der skulle optages i

two composers took up the threads again and contin-

samlingen. Tilsyneladende havde Carl Nielsen tonesat

ued their work with a view to a new collection. Thiset Drachmann-digt, men Laub mente, at teksten var

time too they discussed which songs should be includ-for ringe, skønt han godt kunne lide melodien.

ed. Apparently Nielsen had set a Drachmann poem,optræder ingen tekster af Drachmann i andet hæfte,but Laub considered that the text was too slight, evenmen det er ikke utænkeligt, at den omtalte sang var

116

though he liked the melody.

There are no Drach-

113

Der

“Og jeg vil drage fra Sydens Blommer”, som Carl Niel-mann texts in the second volume, but it is not incon-sen i 1916 lod trykke i enstemmig form i Nye Melodier

ceivable that the song in question was “The Southtil de nyere Sangtekster i Johan Borups Dansk Sangbog.

I’m leaving” which Nielsen had published in 1916 in

Blandt Carl Nielsens efterladte manuskripter ﬁndes

single-line form in New Melodies to the New Texts of Johantillige en udsættelse for sangstemme og klaver, som

Borup’s Danish Songbook. Among Nielsen’s surviving pa-

meget vel kan være den af Laub vragede. Denne ver-pers there is also a setting for voice and piano, whichsion udgives i her som enkeltsang (nr. 239).
Også omkring sangene i dette hæfte havde

may well be the one Laub rejected. This version is here
published as a separate song (No. 239).
Concerning the songs in this volume, too,Laub en række kritiske ord, specielt om Carl Nielsens
akkompagnementer:

Laub had a number of critical words, especially concerning Nielsen’s accompaniments:“Du har tidt nogle gode tanker, som du kaster løsthen, uden at udarbejde dem. Måske er jeg noget per-“You often have certain good ideas, which you sketch

tentlig, men – på den anden side – jeg er vant til fra

away without working them out. Maybe I’m rather

den slags ledsagelser hos Mozart, Weyse o.s.v. at sefussy, but on the other hand in the sort of accompani-hvordan alle enkeltheder bøjer sig ind under helhe-ment you ﬁnd in Mozart, Weyse and others, I’m used toseeing how all the details merge and are subordinated112 I Carl Nielsens manuskripter til ﬂere af sangene
kan man tydeligt følge denne proces.
113 I et brev af 22.7.1916 fra Laub til Nielsen (CNA,
I.A.b.), hvor Laub kommenterer Nielsens melodier, hedder det: “Den til Drachmann er bedre
end ordene, som jeg synes er ret tomme, og jeg
tvivler på, mel.[odien] kan hæve dem.”

115 This process can be followed clearly in the manuscripts of several of Nielsen’s songs.
116 In a letter of 22.7.1916 from Laub to Nielsen (CNA,
I.A.b.), where Laub offers comments on Nielsen’s
melodies, he observes: “The one to Drachmannis better than his words, which I think are really
empty, and I doubt whether the melody can redeem them.”

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den, og at de derved virker til at gøre den klassisk.
[…] Altså – jeg vilde gerne beholde dine melodier, forat klare mig både dine tanker og mine tanker derom
to the whole, and how they thereby contribute to mak-(om disse). Jeg vil helst mundtlig fremstille tingene

ing it classical. […] Well – I should like to hold on to yourfor dig, når du kommer hjem.”

114

songs, in order to clarify for myself both your thoughts
and mine in this matter (about these). I’d rather talk117

these things over with you when you come home”.

Selvom det næppe var de to komponisters hensigt fra
starten, indgik mange af sangene fra En Snes danske
Viser snart i repertoiret af danske fællessange til brug

Although it was hardly the intention of the two com-i skole og hjem. Det skyldtes ikke mindst, at adskil-

posers at the outset, many of the songs in A Score oflige af dem blev optaget i Folkehøjskolens Melodibog fra

Danish Songs soon entered the repertoire of Danish

1922 i et arrangement, der nænsomt sammenkædede

communal singing for use in school and at home.

sangstemmen og det selvstændige klaverakkompagne-

That was due not least to the fact that several of themment, så sangene kom til at fremstå som almindelig

were taken into the The Folk High School Melody Book

klaversats på lige fod med de øvrige sange i Folkehøj-of 1922, in an arrangement that discreetly folded inskolens Melodibog.
Første hæfte af En Snes danske Viser blev præ-the voice part and the independent piano accompaniment so that the songs would appear as ordinary pi-

senteret for offentligheden på baggrund af en tilsyne-ano settings, like the other songs in that volume.

ladende nøje planlagt markedsføringsstrategi med ur-

The ﬁrst volume of A Score of Danish Songs was

opførelse, udgivelse på tryk samt avisomtale på sam-presented to the public in what seems to have been

me tid. Få dage før præsentationskoncerten lod Carla meticulously planned marketing strategy, with theNielsen sig interviewe i Politiken og Nationaltidende.

115

Interviewet i Nationaltidende med overskriften

concert premiere coinciding with publication andnewspaper features. A few days before the concert, Niel-

En ejendommelig Vise-Aften bringes her i sin helhed:118

sen was interviewed in Politiken and Nationaltidende.

The interview in Nationaltidende, under the“Man vil have set, at D’Hrr Komponister, Organist

title An Original Song-Evening, is here given in its en-ved Holmens Kirke Th. Laub og Carl Nielsen paa Tirs-

tirety:dag den 13. afholder en Vise-Aften i Odd-Fellow-Palæets Mindre Sal.
Hr. Carl Nielsen fortæller:“It will have been noted that composers Thomas Laub(organist at Holmens Kirke) and Carl Nielsen are hold-– En Dag i November i Fjor kom Laub til mig

ing a Song Evening on Tuesday 13th in the Lesser Hallog foreslog, at vi begge, naturligvis hver for sig, skul-of the Odd Fellow Palæ.

de komponere nogle Vise-Melodier til gode danske

Nielsen explains:

Digteres Sange og Vers. Han sagde saadan noget som:

– One day last November, Laub approached me‘Kunde vi blot vende Publikums Smag saa meget somwith the suggestion that we should each, independent-

et Hanefjed henimod det enkle, det letfattelige og det

ly of course, compose some melodies to good-quality

rent melodiske uden at sænke Niveauet, saa havde vi

songs and verses by Danish poets. He said something
like: ‘If we could only move public taste an inch or two

114 Brev fra Laub til Carl Nielsen af 22.7.1916 (CNA,
I.A.b.).
115 Politiken, 10.4.1915, gengivet i Fellow (1999), s. 183;
Nationaltidende, 11.4.1915, signeret “Audivi”.

in the direction of the simple, easily accessible and

117 Letter from Laub to Nielsen of 22.7.1916 (CNA,
I.A.b.).
118 Politiken, 10.4.1915, printed in Fellow (1999), p.
183; Nationaltidende, 11.4.1915, signed “Audivi”.

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indlagt os Fortjeneste i en Tid, hvor Sange mere og
mere gaar over til at blive store vanskelige Klaverpartier, overfor hvilke Digterens Ord og Sangmelodien
purely melodic, without lowering standards, then wemange Gange maa se at hutle sig igennem, saa godt

would have achieved something at a time when songs

de kan.’Jeg fandt denne Idé saa tiltalende, at jeg øje-are more and more becoming large, difﬁcult pianoparts, against which the poet’s words and the song mel-blikkelig sagde Ja til at gøre et Forsøg. Laub fandt hos

ody often have to struggle through as best they can.’vore Klassikere – Oehlenschläger, Poul Møller, Chr.

I found this idea so attractive that I immedi-

Winther, Aarestrup o. s. fr. – en Række Digte, hvortil

ately agreed to have a go. Laub chose a number of po-

der ikke var kendte – eller kun lidet kendte og mindreems from our classics – Oehlenschläger, Poul Møller,gode – Melodier. Thi det kunde billigvis ikke falde no-Chr. Winther, Aarestrup and so on – for which there

gen af os ind at ville korrigere eller konkurrere med

were no known melodies, or else only little-known oren N.W. Gade, en I.P.E. Hartmann, en Heise o. a.

inferior ones. Because of course it would not have oc-

Den første af de Vise-Melodier, jeg nu lavede,

curred to either of us to want to correct or compete

var til ‘De Refsnæs Drenge’ af Blicher; saa kom Oeh-with the likes of Gade, I.P.E. Hartmann, or Heise.

lenschlägers ‘Underlige Aftenlufte’, som jeg kompo-

The ﬁrst song-melody I then wrote was tonerede ikke mindre end 3 Gange, inden vi syntes, jeg

Blicher’s ‘The boys of Refsnaes’; then came Oehlen-havde fundet den rette Tone. Jeg ved nok, at der alle-schläger’s ‘Odd and unknown evening breezes!’,rede ﬁndes en Melodi baade til dette Digt og til ‘Rosen

which I composed no less than three times before

blusser’, men da jeg ikke kendte dem, bad Laub mig

we agreed that I’d found the right tone. I knew wellforsøge alligevel, eftersom de gamle efter hans Me-

enough that melodies already exist for this poem

ning ikke var adækvate med Digtene.
– Har De og Laub saa stiliseret Deres Musik til

and for ‘Rose is blooming now in Dana’s borders’, butsince I didn’t know how they went, Laub asked me

disse ‘Guldalder’-Poesier? Har De forsøgt f. Ex. at efter-

to try anyway, because in his opinion the old ones

ligne den Tids musikalske Udtryksmaade?
– Aldeles ikke. Men jeg i det mindste, og Laubweren’t adequate for the poems.
– Have you and Laub adapted your style to thissikkert ogsaa, har indlevet mig saa intenst i Digtenes‘Golden Age’ poetry? For example, have you tried to

Stemning og hele poetiske Atmosfære, at jeg tilsidst

imitate the musical language of that time?

syntes, jeg befandt mig i den Verden. Jeg tænker, vi– Absolutely not. But I at least, and surely

bliver frikendte for Forsøg paa at dyrke den utaalelige

Laub also, have become so absorbed in the mood of‘gamle Stil’, som saa mange moderne Komponisterthe poems and the whole poetic atmosphere that I

ellers ynder. Hvad skal vi ogsaa med ‘gammel Stil’,

eventually felt I was in that world. I think we can benaar vi har hele Bjerge af ægte, gammel, herlig Musik?

acquitted of any attempt to cultivate that unbear-

Altsaa: en Indlevelse i Tid og Aand, uden al Stilisering, harable ‘old style’, which so many modern composersværet vort Maal.
– Hvorved vil disse nye Viser adskille sig fra

are fond of. What do we need an ‘old style’ for when
we have mountains of genuine splendid old music? So,almindelige ‘Romancer’?
– Blandt andet derved, at de hverken faar For-

our goal was Identiﬁcation with the time and spirit of theeller Efterspil, og at Akkompagnementet er det tæn-poems, without any stylisation.
– In what ways are these new songs different

keligst beskedne. Det gælder jo først og fremmest om
at lade Ordene og Melodierne komme til deres Ret.

from the usual ‘romances’?
– Amongst other things, they have neither
introduction nor coda, and the accompaniment is as
modest as possible. The idea is ﬁrst and foremost toCarl Nielsen Udgaven CN 00051

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Vi gør til vore de Ord, som I.A.P. Schulz i 1784 skrev i
Fortalen til sine ‘Lieder im Volkston’: ‘I alle disse Viser har jeg bestræbt mig for at synge mere paa folkelig
let the words and the melodies speak for themselves.

Maade end i egentlig Kunst-Form, saadan, at ogsaa

We adopt the principles I.A.P. Schulz laid out in 1784Lægfolk kan tage Del i dem og huske dem.’ Disse Ordin the preface to his ‘Lieder im Volkston’: ‘In all thesevil blive trykt som en Slags Forord og Motto foran vore

songs I have tried to sing in more of a “folkelig” man-

Viser, naar de i næste Uge udkommer hos Wilh. Han-ner than in any art form as such, so that the layman

sen, da vort Synspunkt – naturligvis under Hensyn til

might also be able to participate in and remember

en anden Tid og en anden Udtryksmaade – ikke fore-

them.’ These words will be printed as a kind of fore-

kommer os at kunne fremstilles bedre.
– Og hvorledes vil Aftenen forme sig i det

word and motto for our songs when they are published next week by Wilhelm Hansen, because, allow-

Ydre? Vil De og Laub selv optræde?

ing for the different times and means of expression,– Nej, hverken syngende eller spillende. Vore

we don’t think we can express our point of view bet-

Viser – 16 ialt – foredrages af Fru Emilie Ulrich, Opera-

ter than that.

sanger Carl Madsen og Hr. Anders Brems og Operarepe-– And how will the evening be arranged? Will
you and Laub yourselves take part?

titør Levysohn er Akkompagnatør. For Resten antager
jeg, at Aftenen paa Tirsdag vil faa et særligt Præg af– No, neither as singers nor players. Our songs –noget hjemligt, noget borgerlig-hyggeligt derved, at

16 of them altogether – will be performed by Mrs Emiliede Optrædende vil sidde paa Tribunen i dagligdags

Ulrich, the opera singers Carl Madsen and Mr. Anders

Paaklædning og saa rejse sig skiftevis og synge et Par

Brems, with repetiteur Levysohn accompanying. By theViser, efterhaanden som disse passer bedst for hverway, I assume that Tuesday evening will have a some-af dem.
– Bliver der udelukkende saadanne Viser paa

what domestic atmosphere, rather bourgeois-homely,in that the performers will sit on the platform in their

Programmet? Slet intet instrumentalt?

everyday clothes and get up in turns to sing a couple of– Jo, en ‘Serenade’, jeg har komponeret forsongs, according to which ones suit each of them best.

Klarinet, Fagot, Horn, Violoncel og Kontrabas, skal

– Will it be only these songs on the pro-dele Viserne i to Afdelinger og vil formentlig alene

gramme? Nothing instrumental?
– Oh, yes, there’ll be a ‘Serenade’ I’ve com-

ved sin Klang komme til at danne en pæn Afvexling
paa det meget sanglige . . .”posed for clarinet, bassoon, horn, cello and double
bass, which will divide the songs into two sections

Uropførelsen fandt sted ved en koncert i Odd Fellow

and by means of timbre alone make a nice changePalæets Mindre Sal den 13. april 1915 – altså få dage

from the many songs . . .”efter interviewene i aviserne – en koncert, som komponisterne havde valgt at betegne Dansk Vise-Aften.

116

The premiere took place at a concert in the Lesser

Arrangementet blev en stor publikumssucces, og ad-

Hall of the Odd Fellow Palæ on 13 April 1915 – just askillige af sangene måtte gives da capo.

few days after the interviews in the papers – a concert
which the composers had chosen to describe as An
Evening of Danish Songs.

119

116 Ved koncerten opførtes 16 af de 23 sange, som udgør første hæfte; som instrumentalt mellemspil
opførtes Seranata in vano for klarinet, fagot, horn,cello og kontrabas (jf. trykt koncertprogram).

The event was a great suc-cess, and several of the songs had to be repeated.

119 At the concert 16 of the 23 songs that make up
the ﬁrst volume were performed; as an instrumental interlude Nielsen’s Serenata in vano for clarinet,bassoon, horn, cello and double bass was played(according to the printed concert programme).

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Præcis to år efter den første viseaften blev andet hæfte præsenteret ved endnu en Dansk Vise-Aften117

med de samme medvirkende kunstnere.
Precisely two years after the ﬁrst evening ofsongs, the second volume was presented in a further
120

Ligesomved den første koncert blev ved denne lejlighed den
trykte udgave frigivet dagen efter koncerten.

Just asAnmeldelserne af de to koncerter med sangeat the ﬁrst concert, on this occasion the printed publi-

fra henholdsvis første og andet hæfte var ret forskel-

cation came out the day after the concert.

lige. Efter den første koncert hilste et enigt anmelder-

Evening of Danish Songs, with the same artists.

The reviews of the two concerts were very

korps de nye sange velkommen. Gustav Hetsch hæfte-divergent. After the ﬁrst concert, a united corps ofde sig i Nationaltidende ved sangenes enkelhed og deres

reviewers welcomed them. In Nationaltidende Gustav

mulighed for at opnå almindelig bred folkeyndest:

Hetsch latched on to their simplicity and their prospects for winning general popular acclaim:“16 nye danske Viser – 8 af Carl Nielsen, 8 af Thomas
Laub – lød første Gang offentlig i Gaar i Odd-Fel-“16 new Danish songs – 8 by Carl Nielsen, 8 by Thomas

low-Palæets Mindre Sal og vandt Tilhørernes Behag

Laub – were heard for the ﬁrst time in public yesterday

i den Grad, at mange af dem maatte gentages helt

in the Lesser Hall of the Odd-Fellow Palæ and pleased

eller delvis. De gik næsten alle strax i Øret og har dethe audience to such an extent that many of them had

bedste Betingelser for at opnaa Folkeyndest, – om

to be encored in whole or in part. They were almost

maaske ikke just komme paa ‘Alles Læber’, saa dog

all instantly appealing and have a great chance of win-trænge ud i videre Kredse af Befolkningen, vist ikkening popular acclaim – if not quite of being on eve-mindst paa Landet. […]ryone’s lips, then still of reaching wide circles of the

Melodierne er ligetil og ukunstlede i den

population, probably not least in the countryside. […]Grad, at de øjeblikkelig kan synges af enhver, derThe melodies are natural and unpretentious,

overhovedet har Begreb om at opfatte og gengive ento the extent that they can be sung instantly by any-

Melodi. De kræver hverken stor Stemme eller stort

one with any idea of how to hear and sing back a mel-Stemmeomfang, hverken Træfsikkerhed udover etody. They require neither a large voice nor a wide reg-

Minimum eller Stemmeakrobatik; det eneste, der for-ister, nothing more than a bare minimum of securelanges af Sangteknik, er en god Vejrtrækning og Evne

pitch, and no vocal acrobatics; the only thing they

til at bære Tonen.

118

need in terms of technique is good breathing and theability to keep steady pitch.

121

Om forskellen på de to komponisters bidrag hedder
det hos Hetsch:

On the difference between the contributions of thetwo composers, Hetsch observed:“At gennemgaa alle 16 Viser vilde være ørkesløst. Det
maa være nok at sige, at der var nydelige, ﬁne og“To go through all 16 songs would be futile. Sufﬁce it tomarvfulde, friske imellem hinanden, og at Carl Niel-

say that some were pretty, some delicate, others pithy

sens syntes de mest fantasifulde, de kraftigst inspire-

and fresh, and that Nielsen’s seemed to be more full ofrede, medens Laubs var tildels paavirkede af hans Ger-

fantasy, the strongest in inspiration, while Laub’s were
to some extent inﬂuenced by his work as a church mu-

117 Ved koncerten opførtes 18 af de 22 sange fra andet hæfte. Som instrumentalt mellemspil uropførte Alexander Stoffregen Carl Nielsens Chaconne
for klaver.
118 Nationaltidende, 14.4.1915.

120 18 of the 22 songs from the second volume were
performed. The instrumental interlude was provided by Alexander Stoffregen’s performance ofNielsen’s Chaconne for piano.
121 Nationaltidende, 14.4.1915.

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ning som Kirkemusiker og Folkevise-Bearbejder. Hos
Carl Nielsen mest Friluft, hos Laub mest Stueluft.”sician and folksong arranger. Nielsen’s smelt more of122

the open air, Laub’s more of the drawing-room.”

119

Skønt Politikens anmelder Charles Kjerulf i sin grundholdning var noget skeptisk over for de to komponisters forehavende, ligesom han var forbløffet over

Although Charles Kjerulf in Politiken was basicallydenne lidt usædvanlige koncertform, måtte han dog

sceptical about the enterprise, just as he was discon-anerkende, at komponisterne var sluppet godt fra

certed by the rather unusual form of the concert, heﬂere af melodierne:

had to recognise that the two composers had succeed“En højst ejendommelig Aften var det og en højst be-

ed with several of the songs:

synderlig Idé, der laa til Grund for den.
To gode Musik-Venner synes, at der i bekla-“It was a highly original evening, with a most curious

gelig Grad mangler Melodier til en Mængde gode,idea behind it.
First two good musical friends consider thatja, ypperlige Digte i den danske Litteratur, eller atthere is a shameful lack of melodies to a host of good,de Melodier, der ﬁndes, nu ikke tilfredsstiller deres

even ﬁrst-rate Danish poems, or that those melo-

Fordringer til folkelige, jævne og gode Sange. Derfor

dies that do exist don’t satisfy their demands forer de to blevet enige om nu med ét Slag at raade Bod“folkelige”, straightforward and good-quality songs.

paa denne følelige Mangel ved selv at komponere

Therefore the two of them decide at a stroke to reme-

Musik til en hel ny, lille Sangbog af gamle, danske

dy this perceived lack by themselves composing music

Digte. Udbyttet af denne en gros Komponering paa

for a completely new little songbook of old Danish po-

to Mands Haand præsenteredes i Aftes ved en saakal-

ems. The results of this wholesale composing by two

det Dansk Vise-Aften, som de to Herrer – Carl Nielsen og

people were presented yesterday evening at a so-called

Thomas Laub – gav, og paa Tribunen sad i Række Kam-

Evening of Danish Songs, put on by the two gentlemen

mersangerinde Fru Ulrich, Operasanger Carl Madsen

in question – Carl Nielsen and Thomas Laub – and on theog Koncertsanger Anders Brems, medens selve Opera-

platform sat court singer Mrs Ulrich, opera singer Carl

repetitør Salomon Levysohn sad ved Flyglet.
En besynderlig Aften – og egentlig just ikke

Madsen and concert singer Anders Brems, all in a row,with opera repetiteur Salomon Levysohn at the piano.
A curious evening, then, and deﬁnitely not

beskedent anlagt. Noget hjalp det dog, at de to Herrer
med klædelig Forsigtighed var gaaet uden om de San-

modest in its layout. But it helped somewhat thatge, der ligger vort Hjerte nærmest, og ikke ligefrem

the two men with becoming modesty had left alone

havde indladt sig paa at skrive nye Illiader efter Ho-

the songs that are closest to our hearts, not attempt-

mer. Der skal alligevel heller ikke saa lidt til at slaa deing to write more Iliads after Homer. Admittedly it isgamle Melodier til ‘Flyv Fugl, ﬂyv’, ‘Paa Sjølunds fagre

not easy to oust the old melodies for ‘Flyv Fugl, ﬂyv’,

Sletter’ eller ‘Jylland mellem tvende Have’ af Marken.

‘Paa Sjølunds fagre Sletter’ or ‘Jylland mellem tvende

Men det kan være galt nok med at kassere de gamle

Have’. But to cast off the old, time-honoured melodieshævdvundne Melodier til ‘En Sømand med et modigt

for ‘A sailor with a plucky breast’ and ‘Odd and un-

Bryst’ og ‘Underlige Aftenlufte’.
For den la[n]gt overvejende Del af de i Aftes

known evening breezes!’ is already bad enough.
In by far the majority of the 16 songs it’s asungne 16 Sanges Vedkommende gjaldt det, at det

case of good poems to which music has hitherto been
totally lacking. And it must be admitted that the two

119 Nationaltidende, 14.4.1915.

122 Nationaltidende, 14.4.1915.

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var gode Digte, hvortil der hidtil i det hele savnedes
Musik. Og indrømmes skal det, at de to Herrer gennemgaaende havde været ganske heldige med de nyemen have on the whole been successful with their

Melodier. Enkelte var endog fortræffelige – og det kan

new melodies. Some were even outstanding, and weman kun sige Tak til, at vort folkelige Sang-Repertoire

can only be thankful for the fact that our “folkelige”

faar værdifulde Forøgelser. Andre faldt lidt ‘lavede’,song repertoire has been valuably augmented. Others

konstruerede ud. Det er sandelig heller ikke saadan

gave the impression of being rather ‘laboured’, con-at være populær paa Kommando, lige saa lidt som det

trived. True, it is not easy to be popular to order, any

er let at skrue sig og sin Musik tilbage til en svundenmore than it is to put the clock back to the manner ofTids Udtryksform og Følemaade.”

120

123

expression and feeling of vanished days.”

Efter den anden koncert den 13. april 1917 var anmelAfter the second concert on 13 April 1917 the review-derne noget mere forbeholdne i deres kritik. Gustav

ers were rather more restrained. Gustav Hetsch wrote

Hetsch skrev den 14. april i Nationaltidendes aftenud-on 14 April in the evening edition of Nationaltidende:

gave:“Yesterday evening in the Lesser Hall of the Odd Fel-“D’Hrr Carl N i e l s e n og Thomas L a u b præsentere-

low Palæ, Messrs Nielsen and Laub presented a large

de i Aftes i Odd Fellow-Palæets mindre Sal en Mængde

number of New Danish Songs, 18 in all, 9 from eachn y e d a n s k e V i s e r, 18 i alt, lige mange af hver.
De har hermed fortsat ad en Vej, der i Fjor

composer.
In so doing they have continued along thebragte dem Ære og Yndest. Men det syntes som det, depath that last year brought them honour and favour.

denne Gang havde at byde, ikke vil føre dem videre

But there was a feeling that what they had to offer

i den Retning. Naar to Nutidmusikere sætter sig forthis time cannot take them further in this direction.

at omsætte en Fortids Digte i Toner, der skal svare til

When two musicians of our day set out to translatedenne Fortids hele aandelige Atmosfære, maa de nød-

poems of the past into notes that correspond to thevendigvis i ikke ringe Grad gøre Vold paa sig selv, er iwhole spiritual atmosphere of that time, they must

alt Fald stærkt bundne af mange Hensyn og det bliver

necessarily do no little violence to themselves, andda let et Tilfælde, om de træffer det rette. […]Meningen er jo, at her skulde skabes en ny

are anyway highly constrained in many respects, andit easily becomes a matter of pure chance whether or

Sang-Litteratur for Folket og Hjemmet, – let at synge,

not they hit the right note. […]let at spille til, beregnet for Stemmer af begrænset

The idea here was obviously to create a

Styrke og Omfang, for Sangglæde uden egentlig Sang-

new body of songs for the people and for the homekunnen eller Musikkultur. En smuk patriotisk og– easy to sing and play along to, for voices of limited

folkeopdragende Mission, hvis Gennemførelse dog erstrength and range, for the joy of singing but withoutvanskeligere, end det ved første Øjekast skulde synes.”

demanding special vocal ability or musical culture. A
nice patriotic and educational mission, whose fulﬁl-Efter yderligere en række forbehold og på ny en kon-ment, however, proves more difﬁcult in practice thanstatering af, at det trods visse mangler nok alligevel

it might seem at ﬁrst glance.”
120 Politiken, 14.4.1915.

After a number of further reservations, and again an
observation that despite certain faults it was probably

123 Politiken, 14.4.1915.

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var Carl Nielsens sange, der havde størst chance for atblive populære, sluttede anmeldelsen:
Nielsen’s songs that had the better chance of becom-“Alt i alt: Vi beﬁnder os her paa et nyt Omraade for Vi-

ing popular, the review ended:sesangen, hvor der vil kunne opnaas saare vellykkede
Resultater saafremt blot den rette lykkelige naive In-“All in all we are in a new area of song composition

spiration hos Komponisten indﬁnder sig!”121

here, where highly successful results may be obtained, provided only that the composer is blessedwith the right happy, naïve inspiration!”

124

In Politiken Axel Kjerulf was even more direct:

Axel Kjerulf var i Politiken endnu mere direkte i sin
kritik:“Der var fuldt Hus – ligesom sidst – og Sukces i Luften– ligesom sidst.
Det Hele var præcis ligesom sidst med Undta-“As last time there was a full house. As last time there

gelse af Viserne, der denne Gang syntes en Kende tyn-

was success in the air.
The whole thing was exactly like last time,dere. En saa fremragende Komponist som Carl Nielsenwith the exception of the songs that this time seemedog en saa habil Musiker som Thomas Laub ryster selv-a triﬂe thinner. A composer as outstanding as Niel-følgelig saadanne Smaasange ud af Ærmet. Men de ry-

sen and a musician as competent as Laub can ofster lidt rigeligt, og den, der hører paa, sidder den gan-course shake such little songs out of their sleeves. But

ske Aften med en lidt ﬂov Fornemmelse af, at det Hele ithey’ve shaken out a little too generously, and listen-

Grunden er saa uendelig ligegyldigt og ens altsammen,ing to them you sit through the whole evening withog at det eneste bemærkelsesværdige ved de nette smaa

a slightly sheepish impression that the whole thing is

Kompositioner er de to Herrers fortræffelige Navne.

basically just much of a muchness, and that the only

Og saa griber man sig i at synes, at de navn-

remarkable thing with these nice little compositions

løse Melodier til de gammelkendte Tekster er langt

is the two men’s distinguished names.

bedre.”

122

And then you catch yourself thinking thatthe anonymous melodies to the familiar old texts aremuch better.”

125

Den trykte udgave af de to hæfter udkom på Wilhelm
Hansens Musikforlag dagen efter de respektive koncerter den 13. april 1915 og 1917, hvilket også blev

The two volumes were published by Wilhelm Hansensnævnt i anmeldelserne. Hæfterne var forsynet med

Musikforlag the day after their respective concerts,

en omslagstegning med et motiv fra første vers af

on 13 April 1915 and 1917, which was also reported in

Poul Martin Møllers “Rosen blusser alt i Danas Have”

the reviews. The volumes were provided with a cover

udført af Niels Skovgaard; det drejer sig om linjerne

drawing by Niels Skovgaard, based on a motif from

“Hingsten græsser stolt på Fædres Grave / Drengenthe ﬁrst verse of Poul Møller’s “Rose is blooming now

plukker af de røde Bær”.
Som indledning til det første hæfte gengav

in Dana’s borders”, illustrating the lines” Stallions
graze ancestral graves as warders, There’s a boy who’s

komponisterne følgende uddrag af J.A.P. Schulz’ for-picking berries red.”tale til Lieder im Volkston (nov. 1784) efter at have korre-

As an introduction to the ﬁrst volume, thecomposers reproduced extracts from J.A.P. Schultz’s

121 Nationaltidende, 14.4.1917.
122 Politiken, 14.4.1917.

preface to his Lieder im Volkston (November 1784). They

124 Nationaltidende, 14.4.1917.
125 Politiken, 14.4.1917.

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sponderet om en række detaljer i oversættelsen, ikke
mindst af det centrale begreb “Schein des Bekannten”
i Schulz’ originale tekst:

123

had previously corresponded concerning a number ofdetails in the translation, not least the central term,“I alle disse Viser har jeg bestræbt mig for at synge“Schein des Bekannten”, in Schulz’s original text:

mere paa f o l k e l i g Maade end i egentlig K u n s t f o r m, saadan at ogsaa Lægfolk kan tage Del i dem“In all these songs I have tried to sing in more of aog huske dem. Derfor har jeg, blandt vore bedste Dig-volksmässig manner than in any art form as such, so

te, kun valgt dem der særlig egner sig for en saadan

that the layman might also be able to participate infolkelig Sang, og i Melodierne gjort mig Umage forand remember them. Therefore I have chosen fromat naa den største Simpelhed og Tydelighed, ja af al

our best poems only those that are especially wellMagt søgt at give dem Præg af det tilsyneladende vel-suited to such “folkelige” singing (“Volksgesange”),

kendte; – – – i dette Præg ligger hele Hemmeligheden

and in the melodies I have gone to some pains toved den folkelige Visetone. – – – At gøre gode Digteachieve the greatest simplicity and clarity, seeking

almenkendte er jo Visekomponistens Hovedformaal,

at every turn to give them an aura of familiarity;

om han da vil blive sin rette Opgave tro”

– – – it’s here that the whole secret of the tone of the“folkelige” song lies. – – – To make good poems gener-

Wilhelm Hansens forlagsprotokol vidner om, at hæf-ally known is after all the main goal of the song com-terne straks blev meget populære og måtte genoptryk-

poser, if he is going to stick to his true task.”

kes adskillige gange.

Wilhelm Hansen’s records show that the volumes im-

Tyve folkelige Melodier (nr. 125-144)

mediately became very popular and had to be reprint-

Carl Nielsens arbejde med den “folkelige” sang i årene

ed several times.

mellem ca. 1915 og 1926 foregik hele tiden i skiftende
samarbejde med andre af genrens pionerer: Johan

Twenty “folkelige” Melodies (Nos. 125-144)

Borup, Thorvald Aagaard, Thomas Laub, Oluf Ring

In the period ca. 1915 to 1926 Carl Nielsen’s work in

og Harald Balslev, for at nævne de vigtigste. Arbejdet

the area of “folkelige” song was always carried out in

dannede så at sige modpol til gruppen af “tunge” vær-collaboration with other pioneers of the genre, theker, som også så dagens lys i denne periode, og som påmost important of these being Johan Borup, Thorvald

forskellig vis afspejlede forhold i den ydre verden og i

Aagaard, Thomas Laub, Oluf Ring and Harald Balslev.

Carl Nielsens eget liv. Dobbeltheden illustreres f.eks.

This work formed a kind of opposite pole to the groupaf, at han i 1926 på samme tid læste korrektur påof “serious” works that also saw the light of day intrykforlægget til 5. symfoni og til Ti danske Smaasange,

those years, and which in their various ways mirror

som begge udkom på Borups Musikforlag dette år.

conditions in the outside world and in Nielsen’s own
life. This dichotomy is illustrated, for example, by the

123 Originalteksten fra Schulz’s Vorbericht, 1784: “Inallen diesen Liedern ist und bleibt mein Bestreben, mehr volksmässig als kunstmässig zu singen, nemlich so, daß auch ungeübte Liebhaberdes Gesanges, so bald es ihnen nicht ganz und
gar an Stimme fehlt, solche leicht nachsingen
und auswendig behalten können. Zu dem Endehabe ich nur solche Texte aus unsern besten
Liederdichtern gewählt, die mir zu diesem Volksgesange gemacht zu seyn schienen, und mich inden Melodien selbst der höchsten Simplicität undFaßlichkeit beﬂissen, ja auf alle Weise den Scheindes Bekannten darinzubringen gesucht […] In
diesem Schein des Bekannten liegt das ganze
Geheimnis des Volkstons; […] Und das ist doch derEndzweck des Liederkomponisten, wenn er seinem einzigen rechtmäßigen Vorsatz, bey dieser
Kompositionsgattung, gute Liedertexte allgemeinbekannt zu machen, getreu bleiben will.”fact that in 1926 he was reading the proofs for theFifth Symphony at the same time as the Ten Little Danish Songs, both of which were published by Borup’s
Musikforlag that year.

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Resultatet af denne beskæftigelse er en række
samlinger med egne gamle og nye sange, til dels med
overlappende indhold, hvortil kommer Carl Nielsens
The result of this activity was a series of col-bidrag til de to samlinger Melodier til Sangbogen ‘Dan-

lections with his own old and new songs – with somemark’ (1924, se s. 132-136) og Johan Borups Dansk Sang-

partial overlap in contents – to which we should addbog (1916 og 1926, se s. 144-149).
Den tidligste af disse samlinger er Tyve folkelige

Nielsen’s contributions to the collections Melodies for

124

Af de

the Songbook ‘Denmark’ (1924, see pp. 132-136) and New

Melodier (nr. 125-144), udgivet i december 1921.

Melodies to the New Texts of Johan Borup’s Danish Song-

20 sange havde fem tidligere været udgivet, mens debook, 1916 and New Melodies for Johan Borup’s Danish

15 er nykomponeret, således som det fremgår af listen

Songbook, 1926 (see pp. 144-149).

nedenfor:

The earliest of these collections is the Twenty“folkelige” Melodies (Nos. 125-144), published in Decem-

Tyve folkelige
Melodier 1921125

Tekst

published and 15 were newly composed, as shown on

På det jævne

H.V. Kaalundthe following list:

Derfor kan vort
øje glædes*ChristianRichardt

126

ber 1921.

Of the 20 songs, ﬁve had previously been

Twenty “folkelige”
Melodies 1921127

Text

Simple-rooted!

H.V. KaalundPrevious
Publication

Tidligere
udgivelse

Jeg så kun tilbage* B.S. IngemannMorgendug, dersagte bæver

Carsten Hauch

Wherefore do our Christianeyes feel pleasure* Richardt

Jord, i hvis favn

ChristianRichardt

I only looked
back*

B.S. Ingemann

Den store Mester
kommer!

B.S. Ingemann

Nordens Musik,
126
1919

Morning dew that Carsten Hauch
slightly trembles

Der sad en ﬁsker
så tankefuld

N.F.S. Grundtvig

Højskolebladet,
51 (1919)

Earth, whose embrace

ChristianRichardt

Steen Steensen Blicher*

Carl Ploug

The greatest master cometh!

B.S. Ingemann

Nordens Musik,
128
1919

Dér, hvor vi stredog sang

Jens Christian
Hostrup

There sat a ﬁsherman

N.F.S. Grundtvig

Højskolebladet,
51 (1919)

Når somrens sang Jens Christianer sungen
HostrupSteen Steensen
Blicher*

Carl Ploug

Where we would
ﬁght and singJens Christian
Hostrup

When summer
song is ﬁnishedJens Christian
Hostrup

De snækker
mødtes124 Ifølge Wilhelm Hansens stikkerbog 20.10.1921
var den oprindelige titel Nye folkelige Melodier.
125 Som det fremgår, er nogle af sangene med gammel retskrivning med stort begyndelsesbogstav
i substantiver og “aa”, mens andre er med ny
retskrivning med lille begyndelsesbogstav og “å”.
Denne forskel mellem sangene er bibeholdt inærværende udgave.
126 Denne sang og “Udrundne er de gamle Dage”
udkom under fællestitlen To aandelige Sange i Nordens Musik, 1/9 (1919), s. 97 (se nr. 115-116).

126 According to Wilhelm Hansen’s engravers’ book20.10.1921 the original title was Nye “folkelige”
Melodier.
127 As may be seen in the Danish version of the preface, some of the the songs use old orthography,
with upper-case for nouns and the vowel “aa”,
whereas others use the new style with lower-caseand “å”. This inconsistency is retained in thepresent edition.
128 This song and “Gone are the days, they’re pastand olden” appeared under the joint title Two
Spiritual Songs in Nordens Musik, 1 (1919), p. 97 (seeNos. 115-116).

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N.F.S. Grundtvig

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Naturens ædledyrkerCarsten Hauch
Jakob Knudsen

The barques
would meet

N.F.S. Grundtvig

Tunge, mørke
natteskyer*

Carsten Hauch

Som dybest
Brønd*

Jeppe Aakjær

The noble nature
student

Jakob Knudsen

Det danske Brødpaa Sletten gror*

Jeppe Aakjær

Heavy, gloomy
clouds of night*

Borupbogen,
1921127

N.F.S. Grundtvig

Like purest waters*

Jeppe Aakjær

Udrundne er degamle Dage

Højskolebladet,
32 (1917)
Nordens Musik,
1919

Betragt mit svage
spind

Adam
Oehlenschläger

Frihed er det bedste guld*

Biskop Thomasaf Strängnäs

Nu lyser løv ilunde

Johannes
Jørgensen

Syndﬂoden

N.F.S. Grundtvig

Højskolebladet,
35 (1917)

The Danish bread, Jeppe Aakjær
it grows on plains*

Borupbogen,
1921129

Gone are the days

Højskolebladet,
32 (1917)
Nordens Musik,
1919

N.F.S. Grundtvig

Behold my web

Adam
Oehlenschläger

Freedom is thepurest gold*

Biskop Thomasaf Strängnäs

The greenwood
leaves are lightnow

Johannes
Jørgensen

The Flood

N.F.S. Grundtvig

Højskolebladet,
35 (1917)

Arbejdet med denne samling er tæt knyttet til arbejdet med Folkehøjskolens Melodibog, som udkom ethalvt år efter; man kan næsten tale om en slags “forstudie” til melodibogen, idet samtlige sange med
undtagelse af “Det danske Brød paa Sletten gror”
efterfølgende kom med i melodibogen. 13 af sat-

Nielsen’s work on this collection is closely connected

serne har sangstemmen indarbejdet i klaversatsen,with that on the The Folk High School Melody Book, whichmens de resterende syv har et selvstændigt, enkelt

came out six months later; one might almost call it aakkompagnement efter samme model som En Sneskind of prelimary study, in that with the exception ofdanske Viser (markeret i listen ovenfor med en stjerne“The Danish bread, it grows on plains” all the songs

efter titlen).

were subsequently included in the songbook. In 13 of

For endnu engang at præcisere forskellen på

them the vocal part was worked into the piano part,disse satser og den gængse romancetradition forsy-

while the remaining seven have an independent sim-

nede Carl Nielsen hæftet med et lille forord:

ple accompaniment on the same model as A Score ofDanish Songs (marked in the above list with an asterisk).

127 Borupbogen: Højskolen i København gennem 30 Aar
1892-1921, København 1921; der er enkelte forskelle mellem de to versioner af sangen.

In order once again to explain the difference
between these compositions and the then-current romance tradition, Nielsen provided the volume with ashort foreword:

129 Borupbogen: Højskolen i København gennem 30 Aar
1892-1921, Copenhagen 1921; there are a few minor
differences between the two versions of the song.

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“Som man ser, er nærværende Melodisamling ikke forsynet med Foredragsbetegnelser ( og  ). Dette be-tyder naturligvis ikke, at alle Vers i hvert enkelt Digt
“As may be seen, this collection of melodies contains

skal udføres paa samme Maade, men at Styrkegraden

no nuances for performance (such asog Fraseringen maa rette sig efter Ord og Mening.

 or  ). Of

Derimod betyder det, at saadanne folkelige

course that does not mean that all the verses in eachand every poem should be sung the same way, but

Melodier ikke tør komme ind under Synsvinklen:that dynamics and phrasing are to be adjusted accord-

Romancer og Sange. Jeg har nemlig bestræbt mig

ing to the words and the meaning.

for at holde baade Melodierne og deres harmoniske

On the other hand it does mean that such
“folkelige” melodies should not be placed in theKlædning i saa jævn og letfattelig Fremtræden som
vel muligt.”

category of romances or songs. For I have tried tomake both the melodies and their harmonisation assmooth and accessible as humanly possible.”

Folkehøjskolens Melodibog(nr. 145-177; Tillæg, nr. 196-213)
Højskolesangbogen (tekstudgaven) var i 1922 kommet

The Folk High School Melody Book
(Nos. 145-177; Supplement, Nos. 196-213)

i sin 10. udgave, men med Folkehøjskolens Melodibog fra

The Folk High School Songbook (text edition) reachedlingen, forestået af de ﬁre komponister og pionerer

its tenth edition in 1922, but the The Folk High School

inden for den folkelig fællessang, Thomas Laub, Carl

Melody Book of the same year constituted the ﬁrst col-Nielsen, Oluf Ring og Thorvald Aagaard.

lected book of melodies to go with it, produced by thearbejdet havde stået på siden 1919 efter opfordring

four composers and pioneers of “folkelig” communal

fra Foreningen for Højskoler og Landbrugsskoler, og

singing: Thomas Laub, Carl Nielsen, Oluf Ring andredaktørernes arbejde bestod i alt væsentligt i udsæt-130

samme år forelå den første samlede melodibog til sam-

128

Redaktions-

The editorial work had been em-

telse af allerede eksisterende melodier, både egne og

barked on in 1919 by invitation from the Society for

andres. Idealet var en enkel klaversats, som var veleg-High Schools and Agricultural Schools, and the edi-

net til ledsagelse af fællessangen, og det var således

tors’ work consisted essentially of setting already ex-

efter moden overvejelse, at man udelod alle fraserings-

isting melodies, both their own and those of others.

buer, karakterbetegnelser og dynamiske anvisninger,

The ideal was a simple piano texture, well-suited toligesom også karakteriserende titler blev udeladt.

Thorvald Aagaard.

129

I en indledende “Fortale” præciserer udgiver-accompanying community singing, and it was therefore after careful consideration that all phrasing,ne sigtet med den nye samling:

character indications and dynamic markings wereomitted, along with all characteristic titles.

131

The editors set out the aims of the new collec-“Foreningen for højskoler og landbrugsskoler har
overdraget undertegnede at udarbejde og udgive ention in an introductory “Foreword”:

harmoniseret melodisamling til foreningens sangbog.

“The Society for High Schools and Agriculturalkommer, skulde den ikke alene gærne udfylde detteEn sådan har længe været savnet. Når den nu
Schools has entrusted the undersigned with the taskof compiling and publishing a collection of harmo-

128 Sangbogens og melodibogens historie er beskrevet i Karl Bak, Højskolesangbogens historie, København 1977.
129 Se f.eks. brev fra Carl Nielsen til Thorvald
Aagaard, 4.2.1921 i Møller og Meyer (1954),
s. 198-199.

nised melodies for the society’s songbook.

130 The history of the songbook and the book of melodies is described in Karl Bak, Højskolesangbogens
historie, Copenhagen 1977.
131 See, for example, the letter from Nielsen to Thorvald Aagaard, 4.2.1921 in Møller & Meyer (1954),
pp. 198-199.

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savn, men bør også imødekomme den stigende sansfor og kravet om et mere folkeligt dansk præg hos
melodierne til vor folkesang.
Ved siden af, at der bør gives plads for de bed-

We have long been lacking such a publication.
Now that we have it, it should address not only thatste af de hidtil brugte melodier, må der også tages

lack but also the increasing sensitivity to and desire

hensyn til det melodistof, som er kommet frem i defor a more “folkeligt” Danish element in the melodies

senere år, drevet frem og præget af de ovennævnte

of our folk singing.

bestræbelser for at danne en mere folkelig sangstil.”

Besides the need to ﬁnd room for the best
melodies in use up to now, we also have to take into

Hertil føjede Laub et langt forord om udførelsen af

account melodies that have appeared in recent years,de gamle folkeviser, et forord, som Carl Nielsen i et

motivated and characterised by the above-mentioned

brev til Thorvald Aagaard kritiserede i ganske stærke

efforts to create a more “folkelig” song style.”

vendinger:

Laub added a long preface concerning the perform-“[…] dog forekommer det mig at Laubs: ‘Om Udfø-

ance of the old folksongs, a preface that Nielsen criti-

relsen af de gamle Folkeviser’ klinger saa underlig

cised harshly in a letter to Thorvald Aagaard:‘vigtig’. Han skulde en Tur til Rumænien og Balkanlandene, ihvertfald vilde det give alle hans Theorier“[…] but it seems to me that Laub’s: ‘On the Perform-

et Stød at høre nogle af de ﬁre Tusind Folkemelodierance of the Old Folksongs’ sounds so remarkably ‘self-som de to Ungarere Koday og Bartok har samlet i

important’. He ought to take a trip to Rumania andGramofon fra de mest afsidesliggende Egne af disse

the Balkans. In any case it would give all his theories

uberørte Lande.”

130a shock to hear some of the four thousand folksongs
that the Hungarians Koday and Bartok have collected

Carl Nielsens bidrag omfatter 33 sange, som alleon gramophone record from the most remote regions

havde været trykt tidligere (fortrinsvis i En Snes danske

132of those untouched countries”.

Viser og Tyve folkelige Melodier), idet dog satsen i mangetilfælde er ændret, således at melodien er indarbejdet

Nielsen’s contribution comprises 33 songs, all ofi akkompagnementet.
Melodibogen udkom i løbet af sommeren

which had previously been printed (notably in A Score
of Danish Songs and Twenty “folkelige” Melodies), although

1922, og kort efter forelå i Højskolebladet en fyldig an-

in many cases the arrangement is different, in that themeldelse af Harald Balslev, forstander for Ubberup

melody is incorporated into the accompaniment).

Højskole. Anmelderen fremhæver de ﬁre udgiveres

The book of melodies came out during thefortjenester gennem deres valg af allerede eksiste-summer of 1922, and shortly afterwards there was arende melodier og deres tilførsel af nye melodier, og

lengthy review in Højskolebladet by Harald Balslev, head-sammenfatter den diskussion, som har været ført ef-

master of Ubberup High School, who stressed the edi-

terfølgende ved fremkomsten af enhver ny udgave af

tors’ merits in their choice of already exisiting melo-

Folkehøjskolens Melodibog:

dies and their addition of new ones, and summarised
the discussion that has followed the publication of eve-

“De som ikke paa Forhaand er begejstrede for det

ry new edition of the The Folk High School Melody Book:ny, men heller ikke altfor uimodtagelige, vil dog“Those who are not in advance enthusiastic about the

130 Brev af 13.6.1922, citeret efter Møller og Meyer(1954), s. 214.

new, but not too resistant either, will probably admit

132 Letter of 13.6.1922 quoted from Møller & Meyer(1954), p. 214.

Carl Nielsen Udgaven CN 00051

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vist indrømme, at her er en Lejlighed til at anstilleSammenligning og dermed faa prøvet nøjere det, deforeløbig kalder det bedste. Jeg tror, at ﬂere og ﬂere,that here they have the chance to make a comparison

efterhaanden som denne Lejlighed bliver benyttet,

and thereby to test out more closely what they have

vil forstaa, at det fra først af var Vanen, der havde væ-hitherto called the best. I believe that more and more

ret det afgørende i deres Dom. Uden Grund skal man

people when they take advantage of this opporrtunity,

ikke skille en Melodi fra de Ord, hvormed den blev

will understand that it was in the ﬁrst instance justsammenknyttet; men det kan ogsaa være som en

habit that was decisive for their judgment. One should

Forfriskelse og Fornyelse af den tekst, man holder af,

not without good reason separate a melody from thenaar den træder frem i et nyt Klædebon. Saaledes harwords with which it is united; but it can also make for a

Carl Nielsen ved sin Melodi til ‘Paa det jævne’ fornyet

freshening-up and a renewal of the text one loves, when

denne Tekst for mig,

it appears in new apparel. In this way Nielsen throughog muntert virksomt Liv paa Jord’”.

131

og Laub Teksten til ‘Et jævnt
132

his melody for ‘Simple-rooted, simple-rooted!’ has re133

newed the text for me,

just as Laub has the text to ‘Et
134

Kort efter udgivelsen – formentlig i begyndelsen af
1923, selvom den stadig bærer årstallet 1922 – var derjævnt og muntert virksomt Liv paa Jord’ ”.

behov for endnu en udgave af Folkehøjskolens Melodi133

Dette “2. oplag” er identisk med førsteudgaven

Shortly after the publication – presumably at the be-bog.

gining of 1923, although the volume still shows the

med undtagelse af siderne 334-338, der indeholder

year as 1922 – there was a need for yet another edi-

nytilkomne alternative melodier til otte af sangene

135

tion of the The Folk High School Melody Book.

This “sec-fra førsteudgaven, heraf fem af Carl Nielsen (nr. 178-

ond edition” is identical to the ﬁrst with the excep-

181 og 199). Disse fem sange skyldtes en henvendelsetion of pages 334-338, which contain new alternative

fra Harald Balslev, der ønskede sangene optaget i

melodies to eight of the songs in the ﬁrst edition,

skolens årsskrift for 1922. Det skete kun for en af

including ﬁve by Carl Nielsen (Nos. 178-181 and 199).

sangenes vedkommende (nr. 181), men som nævnt

These ﬁve songs stem from an invitation from Har-kom de alle fem med i anden udgave af melodibogen.

ald Balslev, who wished them to be included in the

Efterfølgende blev de ﬁre (nr. 178-181) i 1925 udgivet

school’s yearbook for 1922. This was done with only

som selvstændigt hæfte under titlen Fire folkelige Me-

one of the songs (No. 181), but as mentioned all ﬁvelodier.

did appear in the second edition of the songbook.

nedenfor omtalte Tillæg til Folkehøjskolens Melodibog

Subsequently four of them (Nos. 178-181) appeared(nr. 196-200).

134

Og endelig blev de alle i 1927 medtaget i det

in 1925 as a separate volume under the title Four
“folkelige” Melodies.

136

Finally in 1927 they were all in-

131 Den indtil da benyttede melodi til Kaalunds
tekst var C.E.F. Weyses “Paa den Dag Kong Kristians Øje”.
132 Højskolebladet, 29 (1922), sp. 856-857.
133 Når denne udgave, på trods af årstallet, først
kan være udkommet i 1923, skyldes det, at Carl
Nielsen sendte en af de fem nytilkomne sange(nr. 180) til grundlæggeren af Musikhistorisk Museum, Carl Claudius i brev dateret den 26.12.1922
og med tilskriften “en lille Melodi som endnu
ikke er trykt” (DK-Kk(m)).
134 Det fremgår af Wilhelm Hansens stikkerbog, at
stikningen af denne samling er pågået over etpar år, og en blyantstilskrift i stikkerbogen (“NB
Venter paa ﬂere”) tyder på, at man har regnet
med ﬂere sange i hæftet.

cluded in the Supplement to the The Folk High School
Melody Book discussed below (Nos. 196-200).

133 The melody previously used for Kaalund’s text was
C.E.F. Weyse’s “Paa den Dag Kong Kristians Øje”.
134 Højskolebladet, 29 (1922), cols. 856-857.
135 That this edition, despite the indication of year,
did not appear until 1923, is shown by the factthat Nielsen sent one of the ﬁve new songs (No.
180) to Carl Claudius in a letter dated 26.12.1922,
with the note “a little melody that has not yet
been printed” (DK-Kk(m)).
136 From Wilhelm Hansen’s engravers’ book it
appears that the engraving of this collection
stretched over a couple of years, and a pencil addition (“NB Wait for more”) indicates that there
were to be more songs in the volume.

Carl Nielsen Udgaven CN 00051

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De fem sange er blevet til under en sygdomsperiode i august 1922, og korrespondancen med venner og familie viser, at Carl Nielsen er meget optaget
The ﬁve songs were composed in August 1922

af arbejdet og meget glad for resultatet. “Lær mig,during a period of illness, and Nielsen’s correspond-

nattens stjærne” (nr. 178) volder problemer på grund

ence with friends and family shows that he was very

af strofeopbygningen og den kvindelige udgang i deabsorbed by the project and very happy about the re-to første linjer og i sidste linje.

sult. “Teach me, star, precisely” (No. 178) caused prob-

tinget er mest glad for, er “Nu skal det aabenbares”

lems because of its versiﬁcation and the feminine(nr. 181); både her i 1922 og så sent som i 1931 udtaler

endings in the ﬁrst and last lines.

137

The song he was

135

Den sang, han ube-

han sig med stor begejstring om denne sang, som hanunreservedly most happy about was “This is the reve-mener er noget af det bedste, han har lavet, og som

lation” (No. 181); both here in 1922 and as late as 1931

han venter vil nå samme popularitet som Jens Vej-

he expressed great enthusiasm for this song, which

mand.

he considered one of the best he had composed, andhan sin glæde ved melodien:136

I et brev til Anne Marie Carl-Nielsen beskriverwhich he expected to achieve the same popularity as
138

John the Roadman.

In a letter to Anne Marie Carl-Niel-sen he describes his delight in the melody:“Melodien er saa jævn, saa det næsten er stærkere end
i ‘Jens Vejmand’ men den slutter sig om Ordene paa
en saa varm og lykkelig Maade, som jeg ikke har kun-

“The melody is so smooth that it is almost stronger

net før. Det er underligt, at naar jeg skriver disse let-than in ‘John the Roadman’, but it embraces thefattelige, enkle Melodier er det som om det slet ikke

words in a warm and happy manner such as I have

er mig der komponerer; det er som om – hvad skal jeg

never managed before. It is remarkable that when I

sige – det var Folk fra min Barndom ovre paa Fyn el-

write these simple, easily accessible melodies it is as

ler som om det var det danske Folk som ønsker noget

though it is not me at all who is composing them; itigennem mig. Men det lyder maaske saa stort, da Sa-

is as though – how can I put it? – as though it were

gen er saa jævn og simpel, ihvertfald for mig.”137

the people from my childhood over on Funen or theDanish people as a whole who are wanting to express

Et par måneder før sin død kan han endnu engang

something through me. But this maybe sounds tooglæde sig over denne sang:high-ﬂown, because the matter is so plain and simple,
at any rate for me.”o139

“Da jeg nu kiggede lidt i Melodibogen faldt jeg paa N
529 ‘Nu skal det aabenbares’ og jeg synes Melodien i

A few months before his death Nielsen again ex-

folkelig Henseende er den bedste jeg nogensinde harpressed his pleasure in this song:

skrevet. Den er efter mit Skøn saa ligetil, almindelig,men fuldstøbt i sit forløb, at jeg nu selv – efter lang

“When I had a little glance at the songbook I cameGlemsel – virkelig tør sige – – – – nej, man maa intet

across No. 529 ‘This is the revelation’, and I thinksige om sine egne Børn. Hvordan forholder Ungdom-that in the ‘folkelig’ respect the melody is the best I

men sig til Ordene i denne Sang, mon? Melodien

have ever written. In my judgment it is so natural andordinary, and yet so perfectly formed that I myself

135 Brev fra Carl Nielsen til Harald Balslev, 29.7.1922,i Møller og Meyer (1954), s. 218-219.
136 Se brev til datteren Irmelin, 5.8.1922.
137 Brev af 3.8.1922.

– having forgotten about it for a long time – reallydare say – – – – no, one shouldn’t say anything about
one’s own children. I wonder how young people relate

137 Letter from Nielsen to Balslev, 29.7.1922, inMøller & Meyer (1954), pp. 218-219.
138 See letter to Nielsen’s daughter Irmelin, 5.8.1922.
139 Letter of 3.8.1922.

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kunde jeg, fremfor alle mine andre, ønske maatte
blive kendt.”
to the words in this song? I should like this melody,
above all my others, to become known.”

140

138

Det er således skæbnens ironi, at netop denne melodi
af Carl Nielsen ikke formåede at bide sig fast i den
folkelige sangtradition. I fjerde udgave af Folkehøjsko-

It is an irony of fate, therefore, that this very melody

lens Melodibog fra 1940 gled den ud og erstattedes med

did not succeed in establishing itself in the “folkelige”

J.P.E. Hartmanns gamle melodi fra 1868, der siden har

song tradition; in the fourth edition of the The Folkværet kendt og benyttet til “Nu skal det aabenbares”.

High School Melody Book from 1940 it was omitted andreplaced by J.P.E. Hartmann’s old melody from 1868,

Da Højskolesangbogen i 1926 forelå i en ny 11. ud-

which has since become known and used for “This is

gave, blev der behov for et mere omfattende “Tillæg”

the revelation”.

til den eksisterende udgave af melodibogen. Thorvald
Aagaard bad sine medredaktører overveje, hvilke nye

When in 1926 a new 11th edition of The Folk High

melodier de ønskede optaget i tillægget og sendte

School Songbook was published, there was a need foret forslag til Carl Nielsen om hans bidrag. Carl Niel-a more extended ‘supplement’ to the existing edition

sen accepterede forslaget med en enkelt undtagelse,of the music. Thorvald Aagaard asked his co-editors toÆbleblomst (nr. 11) fra Holstein-sangene opus 10, somconsider which new melodies they wished to have in-både Aagaard og han selv fandt uegnet til det, der var

cluded in the supplement, and he sent Nielsen a sug-

melodibogens hovedsigte: ledsagelse til enstemmig

gestion for his contribution. Nielsen accepted, withfællessang. Den kom derfor ikke med i den nye ud-

one exception, Apple Blossom (No. 11) from the Holstein

gave. Netop dette hensyn spillede også en rolle i vur-songs Op. 10, which both Aagaard and Nielsen him-deringen af, om “Vi Sletternes Sønner” (nr. 32) skulle

self found unsuited to the main aim of the songbook:medtages, men her endte det med, at man medtog

to accompany single-line communal singing. This

sangen (nr. 204).

139

song was therefore not included in the new publica-Tillæg til Folkehøjskolens Melodibog blev udgivet ition. The same issue was considered with respect tosommeren 1927 med 18 sange af Carl Nielsen: de fem“We, sons of the plains carry dreams in our minds”

nye fra 2. oplag af melodibogen (nr. 178-181 og 199),(No. 32), but here the decision was taken to include

syv, der tidligere havde været trykt andetsteds (nr.

141

201, 203-205, 207, 212-213) og seks, der her blev trykt

the song (No. 204).

The Supplement to the Folk High School Melody

for første gang (nr. 202, 206, 208-211).
Året efter at tillægget var udkommet, kunne

Book was published in the summer of 1927, with 18
songs by Nielsen: ﬁve new ones from the second edi-

forlaget meddele, at anden udgave af melodibogention of the melody book (Nos. 178-181 and 199), sevenvar ved at være udsolgt, og i sommeren eller efteråret

that had previously been published elsewhere (Nos.

1928 udkom tredje udgave, nu med alle sangene fra

201, 203-205, 207, 212-213) and six that were published
for the ﬁrst time (Nos. 202, 206, 208-211).

138 Brev til Holger Begtrup, 5.7.1931.
139 Disse spørgsmål diskuteres i et længere brev
fra Thorvald Aagaard til Carl Nielsen, 15.9.1926(CNA, I.A.b.).

The year after the supplement came out, thepublishers announced that the second edition of the
melody book was nearly sold out, and in the summer
or autumn of 1928 a third edition appeared, now with

140 Letter to Holger Begtrup, 5.7.1931.
141 This question is discussed in a lengthy letterfrom Aagaard to Nielsen, 15.9.1926 (CNA, I.A.b.).

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1927-tillægget indarbejdet på rette plads i melodibogen. Dette var den sidste udgave af Folkehøjskolens Melodibog, som udkom i Carl Nielsens levetid.
all the songs from the 1927 supplement included intheir proper place. This was the last edition of the The

Ti danske Smaasange (nr. 182-191)

Folk High School Melody Book in Nielsen’s lifetime.

Den sidste samling fra disse år, hvor der i den grad er
grøde i Carl Nielsens produktion af folkelige sange, er

Ten Little Danish Songs (Nos. 182-191)

Ti danske Smaasange, udgivet i 1926 på Borups Musikfor-

The last collection from these years to contain such alag, efter at Carl Nielsen var raget uklar med Wilhelm

crop of Nielsen’s “folkelige” song production is the Ten

Hansens Musikforlag. Sangene synes at være opstået i

Little Danish Songs, published in 1926 by Borups Musik-årene 1924-1925, og de ni af dem havde tidligere været

forlag, after Nielsen had fallen out with Wilhelm

udgivet for lige stemmer i Melodier til Sangbogen ‘Dan-

Hansens Musikforlag. The songs seem to have beenmark’ (alle med undtagelse af “Den danske Sang er encomposed in 1924-1925, and nine of them had previ-

ung, blond Pige” (nr. 191)). Den nævnte sang var blevet

ously been published for equal voices in the Melody

komponeret kort forinden efter opfordring fra digteren

Book for the Songbook ‘Denmark’. The exception is “TheKai Hoffmann, der året før havde skrevet digtet som

Danish song is a fair young maiden” (No. 191), which

prolog til Dansk Korforenings Landssangstævne den 1.

was composed by invitation from the poet Kai Hoff-

juni 1924, hvor det blev fremsagt af Direktør Johannes

mann, who the previous year had written the poem

Nielsen på Det Kongelige Teater. Året efter – den 17.

as a prologue to the Danish Choral Society’s rally on 1

december 1925 – skrev forfatteren til Carl Nielsen:

June 1924, where it was declaimed by Johannes Nielsen, director of the Royal Theatre. The year after – on

“Ved at blade i gamle Papirer fandt jeg dette Manu-

17 December 1925 – the author wrote to Nielsen:

skript til en Prolog fra ifjor. Den trykte Tekst ved jeg
i Øjeblikket ikke, hvor er henne. Men det faldt mig“Leaﬁng through some old papers, I found this manu-

ind, at en Mand havde ment, at Prologen med nogle

script for a prologue from last year. At this momentÆndringer kunde blive til en Sang. Og jeg fandt efter

I don’t know where the printed text is. But I remem-at have læst den igennem, at den simpleste Ændring

bered someone saying that with a few adjustments

vist var at slette de to sidste Vers. Mere behøves egent-

the prologue could become a song. And after reading

lig ikke. Naar jeg nu her sender Dem Sangen om ‘Den

it through, I found that the simplest way was proba-

danske Sang’ er De jo klar over Meningen. Jeg trøster

bly to cut out the last two verses. It really doesn’t needmig med, at hvis De ikke har Lyst til at gøre noget ved

anything more. In sending you the song about ‘The

Sangen, er den Ulejlighed, jeg har gjort Dem, ikke alt-

Danish song’ I want you to be clear about my inten-

for stor, thi De behøver bare at lade Manuskriptet gaa

tion. I comfort myself with the fact that if you don’t

i Papirkurven, og Tavshed fra Deres Side vil være mig

want anything to do with it, the inconvenience I am

lige saa tydeligt Svar som et Brev.”

140

causing you will not be too great, because you need
only toss the manuscript in the bin, and silence fromyour side will be as clear an answer as a letter.”142

Ti danske Smaasange blev kort anmeldt af Thorvald
Aagaard i Højskolebladet. Anmeldelsen indledes med
ordene:The Ten Little Danish Songs were brieﬂy reviewed byThorvald Aagaard in Højskolebladet. The review began:

140 CNA, I.A.b.12.

142 CNA, I.A.b.12.

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“Hvor er det morsomt at være Vidne til den Grøde,
der nu er i vor folkelige Sangmusik, at se, hvordan
Sansen for god og jævn Melodi er ved at blive vakt.
“How pleasing it is to witness the recent growth inCarl Nielsen skal have sin store Part af Æren for dette.

our ‘folkelige’ song repertoire, and to see how appre-

Han har Gang paa Gang vist Vejen og gør det nu atter

ciation for good, plain melody is being awoken. Carli en Samling: ‘Ti danske Smaasange’”.

141

Nielsen deserves a large share of the praise for this.
Again and again he has shown the way, and he does143

so again in the collection of Ten Little Danish Songs.”

Fire jydske sange til tekster af Anton Berntsen (nr. 192195)
Carl Nielsens ﬁre sange til tekster af Anton Berntsen

Four songs in Jutland Dialect to Texts by Anton Berntsen (Nos. 192-195)

blev antagelig komponeret i 1924-1925. Ludvig Dol-Nielsen’s four songs to texts by Anton Berntsen wereat han var blevet interesseret i Anton Berntsens digt-

probably composed in 1924-1925. Ludvig Dolleris re-ning, især samlingen Gjemm-Ævel (Gemmeæbler).

calls that in 1924 Nielsen told him that he had be-På foranledning af folkemindesamleren Evald Tang

come interested in Berntsen’s poetry, especially the

Kristensen debuterede Anton Berntsen i 1914 som

144

leris skriver, at Carl Nielsen i 1924 havde fortalt ham,142

At the request of folk-herit-forfatter, og han udgav bl.a. en række digtsamlinger

age collector Evald Tang Kristensen, Berntsen madeskrevet på jysk dialekt i en stil, som kan minde om

his debut as an author in 1914, and amongst other

Jeppe Aakjærs. Mest kendt er samlingen Gjemm-Ævel,things he published a series of poetry collections

som udkom i 1922.

in Jutland dialect, in a style somewhat reminiscentger, at koncertsanger Anker Olesen, som han havde

of Jeppe Aakjær’s. The best known is the collectionlært at kende i 1924, foranledigede komponister som

collection Gjemm-Ævel.

Gjemm-Ævel, which came out in 1922.

145

143

In his mem-

Berntsen nævner i sine erindrin-

Carl Nielsen, Adolf Riis-Magnussen, Gunder Knudsen
144

Det

oirs Berntsen mentions that concert singer Ankerog ﬂere andre til at sætte musik til hans digte.

Olesen, whom he had met in 1924, asked composers

er overvejende sandsynligt, at det er de to sange Wosuch as Nielsen, Adolf Riis-Magnussen, Gunder Knud-Dætter (nr. 193) og Den jenn å den anden (nr. 194), som

146

sen and several others to set his poems to music.

Anker Olesen har fået Carl Nielsen til at komponere,

It is highly probable that it was the two songs Our

idet samme Anker Olesen i 1967 aﬂeverede et Carl

Daughter (No. 193) and The One and the Other (No. 194),

Nielsen-manuskript til Det Kongelige Bibliotek med

that Anker Olesen got Nielsen to compose, since it

netop disse to sange.

was Olesen who presented a Nielsen manuscript toSoﬁ (nr. 192) vides det, at den blev opført ved den

147

145

Om sangen Jens Madsen å An-We

første af tre festkoncerter på Københavns Universitet

know that the song Jock Miller and Anne Marie (No. 192)

21. november 1925 i anledning af komponistens 60-

was performed at the ﬁrst of three gala concerts atårsdag, sunget af Anders Brems til akkompagnement

Copenhagen University on 21 November 1925 in con-af Christian Christiansen. Disse tre sange samt Æ Las-

nection with Nielsen’s 60th birthday celebrations,træ (nr. 195) foreligger således ikke som en egentlig

the Royal Library in 1967 with these very songs.

sung by Anders Brems and accompanied by Christian Christiansen. These three songs and The Haypole

141 Højskolebladet, 47 (1926), sp. 1555.
142 Ludvig Dolleris, Carl Nielsen. En Musikograﬁ, Odense 1949, s. 293.
143 Dansk biograﬁsk Leksikon, København, 3. udg., s. 43.
144 Anton Berntsen, De mange Aar jeg har i Verden levet,
København 1950, s. 84.
145 Jf. liste over proveniens i Birgit Bjørnum og Klaus
Møllerhøj, Carl Nielsens Samling, København 1992,
s. 250 ff.

(No. 195) were therefore not originally composed as a

143 Højskolebladet, 47 (1926), col. 1555.
144 Ludvig Dolleris, Carl Nielsen. En Musikograﬁ,
Odense 1949, p. 293.
145 Dansk biograﬁsk Leksikon, 3rd edn., p. 43.
146 Anton Berntsen, De mange Aar jeg har i Verden levet,
Copenhagen 1950, p. 84.
147 Cf. list of provenance in Birgit Bjørnum andKlaus Møllerhøj, The Carl Nielsen Collection, Copenhagen 1992, pp. 250 ff.

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samling fra komponistens hånd. Alligevel har de et så
markant indbyrdes slægtskab, at det synes oplagt at
udgive dem som en selvstændig samling, hvilket degroup. However, they have such a striking family re-da også blev, da Skandinavisk og Borups Musikforlag isemblance that it seems natural to publish them as1941 samlede dem i et hæfte.

Teksterne til tre af sangene ﬁndes i digtsamlin-

a separate collection, which happened in 1941 when
Skandinavisk og Borups Musikforlag put them togeth148

146

gen Gjemm-Ævel (Jens Madsen å An-Soﬁ, Wo Dætter, Den jennå den anden), mens den fjerde sang, Æ Lastræ, ikke er at

er in a single volume.

The texts to three of the songs are found inﬁnde i denne digtsamling men derimod som maskin-

the collection Gjemm-Ævel (Jock Miller and Anne Marie,

skrevet side med blyantstilføjelser af Carl Nielsen (somOur Daughter, The One and the Other), while the fourth,

dog ikke umiddelbart synes at have med teksten at

The Haypole, is not to be found in this collection but isgøre).

known from a typewritten page with pencil additions

nuskript til Anton Berntsens digt Æ Owwemøll å æ Næjje-by Nielsen (which, however, do not seem to have any-

møll, dateret af Berntsen 14. november 1925;

149

thing directly to do with the text).

There is also a147

Endvidere er overleveret et maskinskrevet ma148

tilsyne-ladende har Carl Nielsen ikke sat dette digt i musik.

typewritten page with Berntsen’s poem Æ Owwemøll åæ Næjjemøll, dated by him 14 November 1925;

150

appar-

ently Nielsen did not set this poem.

B. Enkeltsange (nr. 214-286)
Enkeltsangene for sang og klaver udgør en heterogenværkgruppe, der dog lader sig inddele i en række

B. Separate Songs (Nos. 214-286)

mere eller mindre veldeﬁnerede underkategorier

Separate songs for voice and piano constitute an ex-(nogle sange falder ind under to kategorier), som af-

tremely heterogeneous group of works, which may nev-

spejler bredden i Carl Nielsens sangproduktion:

ertheless be divided into a number of more or less welldeﬁned categories (some songs fall into two categories)

Ungdomssange fra konservatorietiden og ‘Emilie-that reﬂect the breadth of Nielsen’s song output:

perioden’ (nr. 214-221)
Kunst- eller koncertsange (nr. 222-223, 238-240, 251,

Songs from his conservatoire years and the ‘Emilie-

266-267, 276, 284)

period’ (Nos. 214-221)

Enkeltsange fra skuespil eller kantater (nr. 228, 237,

Art- or concert-songs (Nos. 222-223, 238-240, 251, 266-

274, 275)

267, 276, 284)

Enkeltsange med tilknytning til andre værker af Carl

Separate songs from plays or cantatas (Nos. 228, 237,

Nielsen274-275)

Musik til fem Digte af J.P. Jacobsen (nr. 222)

Separate songs with connections to other works by

Salmer og aandelige Sange (nr. 232, 234, 235)

Nielsen

Melodier til Sangbogen ‘Danmark’ (nr. 252-260, 273)

Music to Five Poems by Jens Peter Jacobsen (No. 222)

Nye Melodier til Borups Dansk Sangbog (nr. 263-266,

Hymns and Spiritual Songs (Nos. 232, 234, 235)279-283)
En Snes danske Viser (nr. 239)

Melodies for the Songbook ‘Denmark’ (Nos. 252-260, 273)
New Melodies for Johan Borup’s Danish Songbook

Julesange (nr. 248-250)(Nos. 263-266, 279-283)
A Score of Danish Songs (No. 239)

146 Fire jydske Sange til Tekster af Anton Berntsen.
147 Musik- og Teaterafdelingen, Torben Schousboes
Samling (XIV, 2).
148 Ibid.

Christmas Carols (Nos. 248-250)

148 Fire jydske Sange til Tekster af Anton Berntsen.
149 Musik- og Teaterafdelingen, Schousboes Samling(XIV, 2).
150 Ibid.

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Sange skrevet til og udgivet i publikationer fra den
danske folkehøjskole (nr. 269-270, 272, 278, 280-282,
286)
Songs written for and printed in publications by theBlandede enkeltsange – fortrinsvis lejlighedssange

Danish Folk High Schools (Nos. 269-270, 272, 278, 280-

– med baggrund i alt fra storpolitiske forhold til helt

282, 286).

lokale eller private anliggender som f.eks. Børne-Miscellaneous separate songs – mainly occasionalhjælpsdagen (nr. 224-227, 229-231, 233, 241-247, 261-

songs – composed for anything from major political

262, 268-269, 271, 276-278).

causes down to entirely local or private matters, as forexample the Child Welfare Day (Nos. 224-227, 229-231,

Efterfølgende behandles denne gruppe sange (nr. 214-

233, 241-247, 261-262, 268-269, 271, 276-278).

286) i numerisk rækkefølge.

This group of songs (Nos. 214-286) is dealt with nu-

Nr. 214-219 Seks sange fra konservatorieårene

merically as follows:

Blandt Carl Nielsens tidligste sange ﬁnder vi ﬁre sange til tekster af engelske digtere i dansk oversættelse

Nos. 214-219 Six songs from conservatoire years

af Christian Preetzmann:

Among Nielsen’s earliest songs we ﬁnd four to texts
by English poets, in a Danish translation by Christian

Til mit Hjertes Dronning (“Skal vi vandre en Stund”)

Preetzmann, namely:

af P.B. Shelley (nr. 214)
Serenade (“See! Luften er stille”) af Jeremiah Joseph

To the Queen of my Heart (“Shall we roam, my love”)

Callanan (nr. 215)

by Percy Bysshe Shelley (No. 214)

Tag jer iagt for Anna (“I Knøse! tag, det raader jeg”)

Serenade (“The blue waves are sleeping”) by Jere-af Robert Burns (nr. 216)

miah Joseph Callanan (No. 215)

“Min Sjæl er mørk” af Lord Byron (nr. 217).

Bonie Ann (“Ye gallants bright, I rede you right”)
by Robert Burns (No. 216)

Preetzmann havde under pseudonymet Caralis i“My soul is dark” by Lord Byron (No. 217)

1867 udgivet to antologier med engelsk lyrik, og i defølgende år lod adskillige danske og norske kompo-

In 1867, under the pseudonym Caralis, Preetzmann

nister sig inspirere til at sætte musik til tekster fra

had published two anthologies of English lyric po-disse digtsamlinger. Således har J.P.E. Hartmann, Emiletry, and in the following years various Danish andHartmann, Peter Heise, Otto Malling, Magda Bugge,

Norwegian composers were inspired to set texts from

Viggo Sanne, Julius Bechgaard, Louis Hornbeck, Viggo

these collections. In this way J.P.E. Hartmann, Emil

Kalhauge, S.A.E. Hagen, Leopold Rosenfeld, Orla Ro-

Hartmann, Peter Heise, Otto Malling, Magda Bugge,

senhoff, Sextus Miskow, Agathe Backer Grøndahl,

Viggo Sanne, Julius Bechgaard, Louis Hornbeck, Vig-

Halfdan Kjerulf, Albert Meyer og Jacob Deichmann

go Kalhauge, S.A.E. Hagen, Leopold Rosenfeld, Orla

Dahl alle komponeret sange “efter det engelske”. Det

Rosenhoff, Sextus Miskow, Agathe Backer Grøndahl,

kan derfor ikke undre, at den unge Carl Nielsen ogsåHalfdan Kjerulf, Albert Meyer and Jacob Deichmannkastede sig over disse tekster; og selvom det ikke kan

Dahl all composed songs “from the English”. It is no

dokumenteres direkte, er det nærliggende at se hans

wonder, then, that the young Nielsen seized on theselærer i musikteori, Orla Rosenhoff, som katalysator

texts; and even though it cannot be ﬁrmly documented, it is probable that his music theory teacher Orla

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for dette arbejde, idet tekstvalget i Rosenhoffs egensangsamling opus 4 (1868) er så godt som identisk
med Carl Nielsen tekstvalg.

Ud over disse ﬁre sange med klaverledsagelse

Rosenhoff was the catalyst, since the choice of texts
in Rosenhoff’s own collection of songs Op. 4 (1868) is
151

149

komponerede Carl Nielsen yderligere to a cappellamandskorsatser (nr. 315 og 316) til engelske digte over-virtually identical to Nielsen’s.

As well as these four songs with piano accom-

sat af Caralis. Endvidere vidner ufærdige skitser om,

paniment, Nielsen also composed two pieces for aat han har arbejdet med andre af Caralis’ oversættel-

cappella male-voice choir (Nos. 315 and 316) to English

ser: Den Landﬂygtiges Sang (“Hvi drog jeg over Dybet”)

poems translated by Caralis. Other incomplete sketch-af Robert Gilﬁllan, Mary (“Himlens Magter, I, som

es show that he worked on other Caralis translations:vaage”) af Robert Burns og Belsazzars Syn (“Belsazzar

Den Landﬂygtiges Sang (“Hvi drog jeg over Dybet”)

sad paa Thronen”) af Byron.

150

Der er intet der tyder på, at Carl Nielsen efter

by Robert Gilﬁllan, Mary (“Himlens Magter, I, som
vaage”) by Robert Burns and Belsazzars Syn (“Belsazzar
152

denne intense beskæftigelse siden har arbejdet med
disse engelske digte. Men ét af dem gjorde et uudslet-

sad paa Thronen”) by Byron.

After this intense engagement, there is no

teligt indtryk på ham; og da han mange år senere

indication that Nielsen ever again worked with these– i 1928 – i en avis-enquete blev spurgt om, hvilket

English poems. But one of them left an indelible im-vers der var hans yndlingsvers, fremdrog han netoppression on him. Many years later, in 1928, when he

Byrons “Min Sjæl er mørk” som det digt, der havde

was asked in a newspaper questionnaire which was

gjort det stærkeste indtryk på ham. Til avisen fortæl-his favourite poem, he nominated Byron’s “My soul isler han, at han læste det i oversættelse som 18-årig og

dark” as the one that had made the strongest impres-stadig – her mere end 40 år senere – kan citere første

sion on him. He told the newspaper that he read it invers efter hukommelsen:translation as an 18-year-old but could recite the verse
Min Sjæl er mørk, nu Sanger ﬂuks

in Danish from memory 40 years on:

du Harpens Streng maa røre;
My soul is dark – Oh! quickly string

slyng saa i milde Bølgeslag

The harp I yet can brook to hear;dens Toner mod mit Øre.

And let thy gentle ﬁngers ﬂing

Har end min Sjæl et lønligt Haab,

Its melting murmurs o’er mine ear.

ved Sang det vil fremtrylles;

If in this heart a hope be dear,og atter Øjets tørre VældThat sound shall charm it forth again:

af friske Taarer fyldes.

151

If in these eyes there lurk a tear,‘Twill ﬂow, and cease to burn my brain.

153

149 Orla Rosenhoff, Digte efter det engelske ved Caralis,
opus 4: Til mit Hjertes Dronning (Shelley), Kjærlighedens Philosophi (Shelley), Serenade (Callanan),Længsel (Burns), “Tag jer iagt for Anna” (Burns),
Horneman & Erslev (1868). Som det ses, har Carl
Nielsen sat musik til ﬁre af disse fem tekster.
150 CNS 358b. Siden Preetzmann foretog sine oversættelser, er to af digtenes autenticitet blevet draget
i tvivl; det drejer sig om Til mit Hjertes Dronning,hvis rette ophavsmand ikke kendes samt Længsel,
hvis to sidste vers er tilføjet af John Hamilton.
151 Fellow (1999), s. 482.

151 Orla Rosenhoff, Digte efter det engelske ved Caralis,
Op. 4: Til mit Hjertes Dronning (Shelley), Kjærlighedens Philosophi (Shelley), Serenade (Callanan),Længsel (Burns), “Tag jer iagt for Anna” (Burns),
Horneman & Erslev (1868). As may be seen, Nielsen set four of these ﬁve texts to music.
152 CNS 358b. Since Preetzmann made his translation, the authenticity of two of the poems has
been called into question: in the case of To the
Queen of my Heart, the identity of the author is
not known, while the last two verses of I Love my
Jean were added by John Hamilton.
153 Fellow (1999), p. 482.

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Vejviseren synger (nr. 218) til tekst af den norske digter J.S. Welhaven er komponeret på samme tid
som de engelske sange. Den sidste af disse tidlige
The Song of the Guide (No. 218), to a text by the Norwe-sange, “Den gamle Skovvei huer mig vel” til tekst af

gian poet J.S. Welhaven, was composed at the same

Christian Winther, foreligger i to meget forskellige

time as the English songs. The last of these earlyversioner: en As dur-version (nr. 219a) med udpræget

songs, “The ancient woodland road I like well” to asenromantiske harmoniske vendinger og en C dur-text by Christian Winther, survives in two very dif-version (nr. 219b), som er helt anderledes enkel i sin

ferent versions: one in A ﬂat major (No. 219a) withharmonik.
For alle de i dette afsnit omtalte sange gælder

prominent late-romantic harmonic turns, and one in
C major (No. 219b) that is completely different in its

det, at de kun er overleveret i manuskript, og at dersimple harmonies.

ikke kendes nogen offentlig fremførelse i komponi-

All the songs in this group only survive instens levetid.

manuscript, and none was performed publicly in the
Nr. 220 “Alle de voksende Skygger” er komponeret i encomposer’s lifetime.

af de sommerferier, som Carl Nielsen holdt i den nordNo. 220 “All the developing shadows”, was composed

jyske by Selde ved Limfjorden i slutningen af 1880erne.

in one of Nielsen’s summer holidays in the north Jut-

Det var her han forelskede sig i den otte år yngre Emi-land town of Selde near Limfjorden in the late 1880s.

lie Demant, og de to tilbragte somrene 1887-1889 sam-

It was here that he fell in love with Emilie Demant,men. I sine erindringer, Foraarsbølger, skriver Emilie:

who was eight years younger than him, and the twoof them spent the summers of 1887-1889 together. In“Middagsstunden havde Carl og jeg helt for os selv

her memoirs, Spring Torrents, Emilie writes:

inde i den hyggelige trefags Dagligstue. Det hændte
at Carl sad ved Klaveret og arbejdede med Noder og“Carl and I had lunchtime all to ourselves in the cosy

Klange, mens jeg læste. Det var Aarestrup og J.P. Jacob-

sitting-room. Here Carl sat at the piano working withsen som mest beherskede os. Carl skrev Musik til ‘Alle

his music and sounds, while I was reading. We werede voksende Skygger’ og forærede mig Sangen, saa

most interested in Aarestrup and J.P. Jacobsen. Carlden er ikke udgivet.”152

wrote music for ‘All the developing shadows’ anddedicated the song to me; therefore it has remained
unpublished.”154

Det fremgår ikke klart af Emilies erindringer, hvilken
sommer dette fandt sted, men i et brev fra Carl til
Emilie, dateret 3. maj 1888 fortæller han, at han på

It is not clear from Emilie’s memoirs which summer

dette tidspunkt var begyndt at studere, hvordan kom-this took place, but a letter from Carl to her dated

ponister som Schubert, Schumann og Brahms skrev

3 May 1888 shows that at this time he had begun togennemkomponerede sange.

study how composers such as Schubert, Schumannforekommer det ikke usandsynligt, at sangen er kom-155

and Brahms wrote through-composed songs.

On

153

På denne baggrund

poneret i løbet af sommeren 1888.

this basis, it is not unlikely that the song was composed during the summer of 1888.

Nr. 221 Angst (“Hold fastere omkring mig”) stammer
at dømme efter skriften i Carl Nielsens manuskript

No. 221 Anxiety (“Hold on to me, around me”) may
date from around 1888, to judge from the handwrit-152 Hatt (2002), s. 66-67.
153 Citeret ovenfor s. 23-24.

154 Hatt (2002), pp. 66-67.
155 Quoted above, pp. 23-24.

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fra tiden omkring 1888, en antagelse, der yderligere
underbygges af hans interesse for Emil Aarestrup idenne periode (se citat af Emilie Demant ovenfor uning in Nielsen’s manuscript and from Nielsen’s inter-

der sang nr. 220).

est in Emil Aarestrup at this time (see the comments
by Emilie Demant quoted above, in connection with

Nr. 222 I Drømmenes Land (“Det er herligt at leve isong No. 220).

Drømmenes Land”) er antagelig komponeret i 1891 og
var oprindelig planlagt til at udgøre den første sang i

No. 222 The Realm of Dreams (“How impressive to live insamlingen med sange til tekster af J.P. Jacobsen opus

the realm of the dreams”), was probably composed in

4, men så sent som i korrekturfasen trak Carl Nielsen

1891 and was originally planned as the ﬁrst in the col-sangen tilbage (se s. 24-25).

lection of songs to texts by Jens Peter Jacobsen Op. 4,
being withdrawn by Nielsen as late as the proof stage

Nr. 223 “Aldrig hans Ord kan jeg glemme!” er anta-(see pp. 24-25).

gelig komponeret 1893, idet manuskriptet til dennesang tillige indeholder dele af en kladde til en sang

No. 223 “Ne’er may his words be forsaken!”, was prob-

over J.P. Jacobsens digt Solnedgang, som Carl Nielsen

ably composed in1893, since the manuscript also con-ifølge et dagbogsnotat komponerede den 25. majtains part of a draft for a setting of Jacobsen’s poem

1893.

Sunset, which Nielsen composed, according to a diarystore versroman Adam Homo (1842-1849) som et af Al-

156

entry, on 25 May 1893.

The text for “Ne’er may his154

Teksten stammer fra Frederik Paludan-Müllers

mas efterladte digte, der afslutter 11. sang.
Sangen er kun overleveret i form af en bly-words be forsaken!” comes from Frederik PaludanMüller’s large verse-novel Adam Homo (1842-1849), spe-

antskladde, der rummer to forskellige versioner af

ciﬁcally from one of the late Alma’s poems, whichklaverakkompagnementet – en urversion og en be-

conclude the eleventh canto.

arbejdelse af denne. Det er bearbejdelsen, der har

The song survives only in the form of a pencil

dannet grundlag for nærværende udgave. Tekstgen-sketch, which contains two different versions of thegivelsen i kilden er ufuldstændig, hvorfor teksten

piano accompaniment – an original and a reworking

gengives efter Paludan-Müllers original (se faksimileof the same. The reworking is taken as the basis fors. 159-161).

the present edition. The text in the source is incomplete and is printed according to Paludan-Müller’s

Nr. 224 Fædrelandssang (“Du danske Mand! af al din

original (see facsimile pp. 159-161).

Magt”; se også nr. 167, 300, 320, 339 og 391) blev en
af Carl Nielsens allermest udbredte sange. Dels ud-

No. 224 Danish Patriotic Song (“Sing, Danish man! Withsatte han den selv i seks forskellige versioner (klaver-

all your might”; see also Nos. 167, 300, 320, 339, andsats, sang og klaver, blandet kor, mandskor og for to391), became one of Nielsen’s most popular songs. He

og tre lige stemmer), dels blev den med eller udenhimself made six different versions of it (piano withkomponistens vidende brugt til adskillige tekster

underlaid text, voice and piano, mixed choir, malei diverse sangbøger (f.eks. indeholder Arbejdersang-choir, and two and three equal voices), and it was also
applied to various texts in a number of songbooks,

154 Denne J.P. Jacobsen-sang er ikke identisk med
opus 4, nr. 1; se nr. 424.

with or without the composer’s knowledge (for example, the Arbejdersangbogen of 1926 contains three dif-

156 This Jacobsen song is not identical to Op. 4, No. 1;
see No. 424.

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bogen fra 1926 tre forskellige tekster, der alle som
155

melodiangivelse har “Du danske Mand”,

og detradikale venstres årbog for 1925 anfører ligeledes
ferent texts, all with the indication to be sung to the157

tune of “Sing, Danish man! With all your might”,

denne melodi til teksten Radikalismens Sang, “Nu gjalder i den unge Dag”).

156

and the Radical Left’s yearbook 1925 similarly applies

Melodien er efter alt at dømme skrevet til etthis melody to the text of Radikalismens Sang, “Nu gjal-maskevers, som Holger Drachmann og Carl Nielsen158

nedskrev i forbindelse med et restaurationsbesøg i

der i den unge Dag”).

1906 med begyndelseslinjerne

The melody seems to have been written toa mock verse notated by Holger Drachmann andNielsen in connection with a meeting in a restaurant“En Mand gik ud ad Vesterbro

in 1906, with the opening lines

han havde en rød Kalot…”“En Mand gik ud ad Vesterbro

Den direkte anledning var ønsket fra forfatterne bag

han havde en rød Kalot…”

en københavnsk sommerrevy, Sommerrejsen, om en(A man went down the Vesterbro“Fædrelandssang” som indledning på forestillingen.

while wearing a red skullcap)

Man bad Drachmann skrive en sådan, angiveligt til

157

den melodi, som Carl Nielsen havde skrevet til deres
The direct impulse was the wish of the authors behindmaskevers. Først et par dage efter revyens premierea Copenhagen summer music hall show, Sommerrejsen,kunne aviserne berette, at den indledende sang var af

for a “Danish Patriotic Song” as an introduction to the

Drachmann og Nielsen.

159

performance.

158

Revyen havde premiere i Tivoli den 26. juni

Drachmann was asked to produce one,ostensibly to the melody that Nielsen had written for

1906 og ﬁk i løbet af sommeren ikke færre end 68

their mock verse. Only a couple of days after the pre-opførelser. Den ene af revyens forfattere, Antonmiere of the show, the newspapers reported that the

Melbye, synes at have været yderst tilfreds med Carl160

introductory song was by Drachmann and Nielsen.
The show had its premiere in Tivoli on 26

Nielsens melodi, for et par dage efter uropførelsenskriver han:June 1906, and during the course of the summer it
received no fewer than 68 performances. One of the

155 “Den stærke Ungdom elsker Storm” (Mikkel
Christensen, 1923), “Der meldes Storm fra Syd og
Nord” (H.P. Sørensen, 1912) og “I Fjærne Oldtids
mørke Nat,” (Marinus Kristensen 1924).
156 Politisk Aarbog og Almanak 1925, udgivet af det radikale Venstre, København 1924, s. 21-22.
157 Revyens forfattere var Anton Melbye og Johannes Dam, musikken var af Olfert Jespersen; “Dudanske Mand” var således Drachmann og Carl
Nielsens eneste bidrag til revyen.
158 Tilblivelseshistorien fortælles i Meyer og Schandorf Petersen (1947-1948), bd. I, s. 286 og behandles mere indgående i John Fellow, “Fædrelandssang med følger”, Musikvidenskabelige Kompositioner.
Festskrift til Niels Krabbe, København 2006, s. 457477, genoptrykt som “A patriotic song and its consequences”, Carl Nielsen Studies, 3 (2008), s. 28-49.

authors, Anton Melbye, seems to have been extremely
happy with Nielsen’s melody, for he wrote a couple ofdays after the premiere:

157 “Den stærke Ungdom elsker Storm” (Mikkel
Christensen, 1923), “Der meldes Storm fra Syd og
Nord” (H.P. Sørensen, 1912) and “I Fjærne Oldtids
mørke Nat,” (Marinus Kristensen 1924).
158 Politisk Aarbog og Almanak 1925, udgivet af det
radikale Venstre, Copenhagen 1924, pp. 21-22.
159 The authors of the show were Anton Melbye andJohannes Dam, with music by Olfert Jespersen;
thus “Sing, Danish man!” was Drachmann andNielsen’s only contribution.
160 The story of the composition is told in Meyer& Schandorf Petersen (1947-1948), vol. 1, p. 286
and is discussed in more depth in John Fellow,“Fædrelandssang med følger”, Musikvidenskabelige Kompositioner. Festskrift til Niels Krabbe, Copenhagen 2006, pp. 457-477, reprinted as “A patriotic
song and its consequences”, Carl Nielsen Studies, 3(2008), pp. 28-49.

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“Tak for Sangen – jeg vilde have sagt Dem et gladere
Tak, hvis Sangen havde præsenteret sig bedre hin
Aften, men Tenorer og Træpinde synes nu engang i“Thank you for the song. I would have thanked you

ni af ti Tilfælde at være et og det samme. Det faar nu

more effusively, had it been heard to better advantagevære hvad det er – Sangen gør forresten for hver Aftenthat evening, but tenors and block-heads seem nine

mere og mere Lykke, og det kan saamænd godt være,out of ten times to be one and the same thing. Be thatat den engang bliver noget i Retning af, hvad vi har

as it may (as it happens the song is more and moretilsigtet, selv om Drachmann ikke har fundet de retteof a success every evening, and it may well be that it

Ord – at Melodien er det bedste og vil bære Sangen, er

will become something like what we were aiming for,jeg ikke i Tvivl om.”

159

even though Drachmann didn’t ﬁnd the right words),
I am in no doubt that the melody is better than the
text and will bear the song aloft.”

161

Samtidig bad Melbye om et trykforlæg, så succesen
hurtigt kunne følges op med en udgivelse, og i løbet af sommeren og efteråret udkom den både for

At the same time Melbye asked for a printer’s copy,sang og klaver (nr. 224), for mandskor (nr. 320) og forso that the success could be quickly followed up by

blandet kor (nr. 300);

a printed edition, and in the course of the summer

optaget Folkehøjskolens Melodibog (nr. 167) og i Melodier

and the autumn it appeared both for voice and pianotil Sangbogen ‘Danmark’ (nr. 391). Udover Carl Nielsens(No. 224), for male-voice choir (No. 320) and for mixed

egne udsættelser foreligger en række arrangementer

162

160

hertil kommer, at den blev

it was also included in the The Folk

foretaget af andre for bl.a. harmoniorkester og salon-High School Melody Book (No. 167) and in Melodies for theorkester. Også en version for stort symfoniorkester må

songbook ‘Denmark’ (No. 391). Apart from Nielsen’s own

have eksisteret, men her er materialet antagelig gåetversions, there are a number of arrangements made bytabt, og det fremgår ikke, om arrangementet var afothers for wind orchestra, salon orchestra etc. There

Carl Nielsen, selvom det vides, at han med stor succesmust also have been a version for full symphony orches-

dirigerede det ved Københavns Orkesterforenings 40-

tra, but the materials appear to have been lost, and itårs jubilæumskoncert 24. april 1914.

choir (No. 300);

161

is not clear whether the arrangement was by Nielsen,

Mange år senere tog Carl Nielsen på ny sangenalthough it is known that he conducted it with great

op, idet han i henholdsvis 1929 og 1930 lod den indgå

success at the Copenhagen Orchestral Society’s 40th

som afsluttende fællessang i to af sine lejlighedskan-

163

anniversary jubilee concert on 24 April 1914.

Many years later Nielsen took up the songtater: Kantate ved Polyteknisk Læreranstalts 100 Aars Jubilæum (til to nye vers skrevet af Seedorff Pedersen) og

again as the concluding communal song for his two

Digtning i Sang og Toner ved Svømmehallens Indvielse (tiloccasional cantatas: Cantata for the Centenary of theet par vers med den originale tekst).

Polytechnic College (to two new verses by Seedorff Pedersen) and Poetry in Song and Music for the Inauguration of

159 Brev af 1.7.1906 til Carl Nielsen.
160 Det er uvist, om versionen for blandet kor rent
faktisk udkom i 1906, eller om den blot er udarbejdet dette år men først udkommet i Wilhelm
Hansens Korbibliotek en halv snes år senere (se Critical Commentary, s. 495-496).
161 Iﬂg. program for koncerten og efterfølgende anmeldelser.

the Public Swimming Baths (to a pair of verses with theoriginal text).

161 Letter of 1.7.1906 to Nielsen.
162 It is not known whether the version for mixed
choir was actually published in 1906, or whether
it was merely arranged that year and did not appear until in Wilhelm Hansens Korbibliotek a decadeor so later (see Critical Commentary, pp. 495-496).
163 According to the concert programme and subsequent reviews.

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Endelig fremgår dens popularitet af, at denﬁndes optrykt i mindst 26 af samtidens melodibøger,enten i enstemmig udgave eller som klaversats med
Finally, the popularity of the song may beunderlagt tekst.

162

I højere grad end det var tilfældet

judged from the fact that it was printed in at least 26

med den ligeledes meget populære Jens Vejmand, sersongbooks of the time, either in single-line settings or

det ud til, at Fædrelandssang også blev brugt som seriøs

164

as a piano texture with underlaid text.

To a great-fællessang og ved koncertopførelser.

er degree than the very popular John the Roadman, it
seems that Danish Patriotic Song was used as a serious

Nr. 225 “Jeg synes om din lette Gang” er komponeretcommunal song and in concert performances.

til Marie Møller og indført i hendes dagbog. Marie
Møller var gift med Carl Nielsens gode ven Holger

No. 225 “I truly like your easy gait”, was composed for

Møller, som havde konkurreret sig ind i Det KongeligeMarie Møller and entered in her diary. Marie Møller

Kapel samtidig med Carl Nielsen. Men allerede i 1896

was married to Nielsen’s good friend Holger Møller,

havde Holger Møller forladt sin stilling i kapellet til

who had won a place in the Royal Chapel Orchestra

fordel for driften af slægtsgården Østrupgaard, en her-at the same time as him. But Holger Møller had al-regård der ligger ud til Odense Fjord mellem Odense

ready left his position in 1896 to join the service ofog Bogense. Her var Carl Nielsen en hyppig gæst, og da

the family farm Østrupgaard, an estate out towards

familien Carl Nielsen i sommeren 1906 opholdt sig på

Odense Fjord, between Odense and Bogense. Niel-Østrupgaard på vej til Skagen, komponerede han den

sen was a frequent guest here, and when his family

11. juli denne lille sang til sin værtinde. Det må anta-

stayed at Østrupgaard on the way to Skagen, he com-ges, at komponisten også har været mester for teksten.
Det vides ikke, om Carl Nielsens original-

posed this little song on 11 July for his hostess. We
must assume that the composer was also responsible

manuskript, som angiveligt skulle være blevet indsat

for the text.

i Marie Møllers dagbog, eksisterer endnu. Imidlertid

It is not known whether Nielsen’s original

er dette manuskript reproduceret i Torben Meyers
163

manuscript, which is said to have been inserted into

og Frede Schandorf Petersens Carl Nielsen-biograﬁ.

Marie Møller’s diary, still exists. However, it was re-

Denne reproduktion har været hovedkilden til nær-produced in Torben Meyer’s and Frede Schandorf Pe-værende udgave. Herudover er Carl Nielsens blyants-

165

tersen’s Nielsen biography.

This reproduction is the

kladde til sangen bevaret.

main source for the present edition. Nielsen’s pencil
Nr. 226 Afholdssangen (“Frem til Frihed til Lys og til

draft has also survived.

Lykke”) er et eksempel på en af de forskellige former
No. 226 Temperance Song (“On to freedom, to light andfor lejlighedslyrik, som Carl Nielsen ikke så sjældent

to pleasure”), is an example of one of the various

modtog med opfordring til at sætte det i musik. Såle-kinds of occasional lyric poetry that Nielsen was often

des indvilligede han i 1909 i at komponere musik til

invited to set to music. Thus he agreed in 1909 to set

denne tekst af en vis Hr. Moldberg-Kjeldsen fra Århus,

this text by one Mr. Moldberg-Kjeldsen from Århus,

der havde forfattet et digt, der var tænkt som en slag-

who had written a poem intended as a distinctive
162 Iﬂg. Camilla Bødker Thomsens sangbase, omtalt
ovenfor i note 2.
163 Meyer og Schandorf Petersen (1947-1948), bd. 1,
s. 81.

164 According to Camilla Bødker Thomsen’s database, mentioned in footnote 2 above.
165 Meyer & Schandorf Petersen (1947-1948), vol. 1,
p. 81.

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sang for den lokale afholdsforening. Da Carl Nielsen
den 30. maj 1909 sendte det færdige manuskript til
Moldberg-Kjeldsen, skrev han i ledsagebrevet:song for the local temperance society. When Nielsen
sent the completed manuscript to Moldberg-Kjeldsen“Jeg beder Dem imidlertid foreløbig holde mit Navn

on 30 May 1909, he wrote in a covering note:

udenfor, indtil man har prøvet om den falder den
jevne Mand i Øret, ogsaa fordi jeg i den senere Tid“May I ask you for the time being not to reveal myhar sagt nej til ﬂere Anmodninger om Kompositioner.

name until the song has been tried out to see whether

Som De ser, gjentager jeg den sidste Linie, hvorved

it appeals to the ordinary man, also because I have

Sangen faar mere Magt og den rette musikalske læng-recently said no to several such requests for composi-de. – Ordet ‘Rusedrikkes’ 2det Vers synes jeg – af rent

tions. As you will see, I have repeated the last line, so

fonetiske Grunde – ikke helt om, men det vil maaskethat the song is more powerful and of the right musi-være vanskeligt at foretage en Forandring.”

cal length. On purely phonetic grounds I don’t entirely like the phrase ‘intoxicants’ in the second verse, but

Man fornemmer mellem linjerne, at komponisten

it will probably be difﬁcult to change it.”ikke har været helt stolt af sin frembringelse. Tilsyneladende er melodien ikke faldet i den århusianske af-

We can read between the lines that the composerholdsforenings smag, og manuskriptet skal angiveligt

was not entirely proud of this creation. Apparent-være blevet sendt retur til komponisten.

ly the melody was not entirely to the taste of theretning bekræftes af den omstændighed, at Carl Niel-Århusian temperance society either, and it is saidsens renskrevne blækmanuskript befandt sig blandt

166

that the manuscript was returned to him.

This is164

hans efterladte papirer.
Moldberg-Kjeldsens tekst ﬁndes trykt i Dan-reinforced by the fact that Nielsen’s ink fair copy ismarks Afholdsforenings sangbog, Folkevennens Sang-

found among his papers.
Moldberg-Kjeldsen’s text was printed in theDanish Temperance Society’s songbook, Folkevennens
167

Sangbog.

Denne be-Here it is referred to as having its “own

165

bog.

den melodi, har ikke kunnet fastslås.
De musikalske kilder til sangen udgøres af

melody”, but it is not possible to determine whether
this refers to Nielsen’s or someone else’s melody.

Heri anføres den at have “Egen Melodi”, men

om der hermed refereres til Carl Nielsens eller en an-

komponistens blyantskladde og blækrenskrift, hvoraf

The musical sources for the song are the com-renskriften har tjent som hovedkilde. Disse kilder

poser’s pencil draft and ink fair copy, the latter serv-

medtager imidlertid kun det første vers, hvorfor deing as main source. These sources, however, includeøvrige vers i nærværende udgave er gengivet efter

only the ﬁrst verse, the others in the present edition

Folkevennens Sangbog.

being published according to their appearance in
Nr. 227 De unges Sang (“Vi ﬁk ej under Tidernes Tryk”)

Folkevennens Sangbog.

166

er antagelig komponeret i løbet af februar 1909.

På

No. 227 Song of the Young (“The stress of years could
not jade our mind”), was probably composed in February 1909.

168

164 Ibid.
165 Folkevennens Sangbog. Udgivet af Danmarks Afholdsforening ved Foreningens Bladudvalg. København
1917, s. 61.
166 Iﬂg. dagbogsnotat aﬂeverede Carl Nielsen en enstemmig version af sangen til Wilhelm Hansen
1.3.1909.

At this time, Nielsen’s family was living

166 Ibid.
167 Folkevennens Sangbog. Udgivet af Danmarks Afholdsforening ved Foreningens Bladudvalg. Copenhagen
1917, p. 61.
168 According to a diary entry, Nielsen delivereda single-line version of the song to Wilhelm
Hansen on 1.3.1909.

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denne tid boede familien Carl Nielsen på Vodroffsvej167
og var her nabo til N.H. Rasmussens Gymnastiske In168

stitut.
169

in Vodroffsvej,
Institute.
171

170

close to N.H. Rasmussen’s Gymnastic

The two familes had struck up a friend-

De to familier havde udviklet et venskabeligt

169

forhold,og det er sandsynligvis N.H. Rasmussen, derhar opfordret Carl Nielsen til at komponere denne me-

and it was probably Rasmussen who invited

lodi. Sangen blev første gang publiceret i gymnastik-

Nielsen to compose this melody. The song was ﬁrst

instituttets program for 1909 med dedikation til N.H.

published in the programme of the Gymnastic Insti-

Rasmussen. Heri ledsages musikken af følgende tekst:

ship,tute for 1909, with a dedication to Rasmussen. Here
“Da i Året 1884 den Lingske Gymnastik indførtes her ithe music is accompanied by the following text:

Landet, skrev C. Hostrup ‘de Unges Sang’ til den første
170

Sangen,“When Ling’s gymnastics system was introduced tooffentlige Opvisning af den nye Gymnastik.

this country in 1884, C. Hostrup wrote ‘Song of the

der turde have ikke mindre Værd som dansk Sang nu

Youth’ for the ﬁrst display of the new gymnastics.

172

end for 25 År siden, har dog hidtil savnet sin egen

However, the song, which should have no less value

Melodi; men dette Savn er nu afhjulpet, idet Hr. kgl.

as a Danish song now than 25 years ago, lacks its own

Kapelmester C a r l N i e l s e n i Anledning af de 25

melody; but this lack is now repaired, in that on ourÅr har skænket os en ny Melodi, som ventelig snart vil

silver jubilee Royal Kapellmeister Carl Nielsen has pre-være i Brug i vide Kredse, til Glæde for mange Men-sented us with a new melody, which we expect will

nesker. Melodien, som Offentligheden her kan gøre

soon be used in wide circles, to the delight of many.

sit første Bekendtskab med, og som tillige vil blive

The melody, which the public can get to know here

optaget i Musik-Tillæget til ‘Syng’, vil om kort Tid ud-

for the ﬁrst time, and which will also be included askomme på Wilh. Hansens Musikforlag.”171

a musical supplement to ‘Syng’, will shortly be published by Wilhelm Hansens Musikforlag.”

173

Sangen vandt hurtigt indpas i de danske folkehøjskoler; f.eks. skrev Thorvald Aagaard i januar 1910 til Carl

The song rapidly gained a foothold in Danish HighSchools. For example, in January 1910, Thorvald Aa-

167 Familien Carl Nielsen boede på Vodroffsvej 53 iårene 1908-1915.
168 Gymnastiklæreren cand. polyt. Niels Hansen
Rasmussen havde i 1887 oprettet et gymnastikinstitut, som fra 1898 havde sin egen bygning på
Vodroffsvej 51, hvor han også boede med sin familie. Instituttet og bygningen blev senere overtaget af hans datter, Helle Gotved.
169 Iﬂg. Fellow (2007), s. 277 og 403 gik Carl Nielsens
børn til gymnastik hos Rasmussen og familierne
kom til middag hos hinanden.
170 Jens Christian Hostrup skrev teksten i 1884, nærmere bestemt til Vallekilde Højskole, hvor den
blev sunget ved indvielsen af det nye ‘Øvelseshus’. Hostrup havde selv anført en marchmelodi
af Otto Lindblad som melodi til sit digt, og den
blev anvendt, indtil Carl Nielsen komponerede
sin melodi. Lindblads melodi havde Hostrup introduceret allerede i 1848 til slutningssangen i
anden akt af sit lystspil, Eventyr paa Fodrejsen.
171 Gymnastikhusets program for 1909: Cand. Polyt.
N. H. Rasmussens Gymnastiske Institut Vodroffsvej 51,
Hovedbrandstationen, Vestervold 80, Forsamlingsbyg2
ningen, Forhåbningsholms Allé 18, 1909, s. 3 (PR 22 ).

169 The Nielsens lived at Vodroffsvej 53 in the period
1908-1915.
170 Gymnastics teacher, engineer Niels Hansen
Rasmussen had founded a gymastics institutein 1887, which from 1898 had its own building
at Vodroffsvej 51, where he also lived with hisfamily. The institute and the building were later
taken over by his daughter, Helle Gotved.
171 According to Fellow (2007), pp. 277 and 403 Carl
Nielsen’s children went to Rasmussen for gymnastics lessons, and the two families had meals
in each other’s houses.
172 Jens Christian Hostrup wrote the text in 1884,
speciﬁcally intended for the Vallekilde HighSchool, where it was sung at the inaugurationof the new ‘Training Building’. Hostrup himself
had referred to a march tune by Otto Lindblad asa melody for his poem, and this was used until
Nielsen composed his melody. Lindblad’s melody
had been introduced already in 1848 for the closing song in the second act of Hostrup’s comedy,
Eventyr paa Fodrejsen.
173 The gymnastics house’s programme for 1909: Cand.
Polyt. N. H. Rasmussens Gymnastiske Institut Vodroffsvej
51, Hovedbrandstationen, Vestervold 80, Forsamlingsbyg2
ningen, Forhåbningsholms Allé 18, 1909, p. 3 (PR 22 ).

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Nielsen, at melodien dette år var “Slagsang” på Ryslinge Højskole.
De unges Sang foreligger fra komponistens håndgaard wrote to Nielsen that the melody was the ‘Dis-i ﬂere forskellige versioner: samtidig med klaverudsæt-tinctive Song’ that year at Ryslinge High School.

telsen publicerede Carl Nielsen en mandskorversion

Song of the Young survives in the composer’s(nr. 323), i 1922 omarbejdede han klaverversionen til

hand in various versions: at the same time as the piano

optagelse i Folkehøjskolens Melodibog (nr. 155), og endelig

version, Nielsen published one for male-voice choir

udarbejdede han i 1924 en version for tre lige stemmer(No. 323); in 1922 he revised the piano version for in-til Melodier til Sangbogen ‘Danmark’ (nr. 360).
Kilderne til 1909-klaverversionen udgøres af

clusion in the The Folk High School Melody Book (No. 155);

172

gymnastikinstituttets

ﬁnally in 1924 he made a version for three equal voices

Carl Nielsens blækrenskrift,

for Melodies for the Songbook ‘Denmark’ (No. 360).

trykte 1909-program, samt en separatudgave, som ud-

The sources for the 1909 piano version con174

sist of Nielsen’s ink fair copy,

the 1909 gymnastics

kom på Wilhelm Hansens Musikforlag i 1910.

173

Der eringen substantielle afvigelser imellem disse tre kilder.

institute’s printed programme, and a separate edi175

Nr. 228 Halloges Sang (“Min Hjelm er mig for blank

There are no substantial divergences between theseog tung”) stammer fra musikken til Adam Oehlen-

three sources.

schlägers skuespil Hagbarth og Signe, som Carl Nielsention from Wilhelm Hansens Musikforlag in 1910.

komponerede i forbindelse med en opsætning på
174

Samme årNo. 228 Halloge’s Song (“My helmet’s weighing far

Friluftsteatret i Ulvedalene i juni 1910.

too much”) comes from the music to Adam Oehlen-

lod han to stykker fra denne musik udgive i klaverar-

schläger’s play Hagbarth and Signe, which Nielsen com-

rangement på Wilhelm Hansens Musikforlag, nemlig

posed in connection with a production at the Open-

Halloges Sang og Ternenes Dans.

air Theatre in Ulvedalene in June 1910.

176

The sameyear he had two extracts from this music printed in

175

denne forbindelse forsynet med en dedikation til vennen Hother Ploug og dennes hustru Marie.
Som selvstændig klaverledsaget sang vandt

piano arrangement by Wilhelm Hansen, namely Halloge’s Song and Dance of the Handmaidens.

177

Halloge’s

Halloges Sang blev i

Halloges Sang ikke indpas i det samtidige koncert-Song was here provided with a dedication to his friend

repertoire. Bortset fra en enkelt koncertopførelse

Hother Ploug and Ploug’s wife Marie.

kendes der ikke til nogen offentlig fremførelse i Carl

As an independent song with piano accom-

Nielsens levetid.

176

paniment, Halloge’s Song did not gain a place in theconcert repertoire of the time. Apart from a single
178

occasion,no public performance is known in Niel-

Nr. 229 Paaske-Liljen (“Paaskeblomst! En Draabe stærk”)
til N.F.S. Grundtvigs tekst er komponeret i 1910 og

sen’s lifetime.
172 Privateje.
173 Iﬂg. dagbogsnotat indleverede han såvel klaverversionen som mandskorversionen til Wilhelm
Hansen 18.09.1909.
174 For en nærmere redegørelse for tilblivelsen af
denne musik, se forordet i CNU I/6, s. xliv-l.
175 Klaverversionen af Ternernes Dans gengives i
CNU IV/1.
176 Koncert i Hornung & Møllers Sal, 4.2.1911, forbløffende nok med en kvindelig sanger, nemlig
Poula Jacobsen, akkompagneret af Louis Glass.

No. 229 The Daffodil (“Easter bloom! A potent drink”),
to a text by N.F.S. Grundtvig, was composed in 1910

174 Private collection.
175 According to a diary entry, he delivered both the
piano version and the one for male-voice choir toWilhelm Hansen on 18.09.1909.
176 For a more detailed description of the origins of
the composition, see Preface to CNU I/6, pp. xliv-l.
177 The piano version of Dance of the Handmaidens is
printed in CNU IV/1.
178 Concert in Hornung & Møller’s Hall, 4.2.1911,
surprisingly with a female singer, Poula Jacobsen,
accompanied by Louis Glass.

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samme år udgivet hos Wilhelm Hansen i en version
for mandskor (nr. 324). Antagelig samtidig med
denne version udarbejdede Carl Nielsen en version
and published by Wilhelm Hansen that year in a ver-for klaver med underlagt tekst, som han sendte tilsion for male-voice choir (No. 324). Probably at theskuespilleren Lars Knudsen

same time, Nielsen made a version for piano withledsageskrivelse:

177

sammen med følgende

underlaid text, which he sent to the actor Lars Knud179

sen“Kære Lars! Du bad mig jo om denne Melodi. Hvorfor

together with the following words:

har Du ikke plaget mig for at holde mit Løfte? Det“Dear Lars! You did ask me for this melody. Whyskal Du skam gjøre en anden Gang; husk dog paa at

didn’t you keep on at me to hold my promise? You

det kildrer altid Komponistens Forfængelighed. ‘Dushould deﬁnitely do that next time; do remember

har forset Dig svart’, men nu kan Du jo lade som omthat this tickles a composer’s vanity. ‘Scoundrel, you

Du bliver ‘forfædelig glad’ for den, saa gaar jeg paa

should be barred’, but now you can pretend that you

den alligevel. Farvel Du gamle Dreng! Din hengivne

are ‘terribly glad’ about it, then I shall accept. Good-Carl N.”

178

180

bye, old boy! Yours sincerely, Carl N.”

Denne klaverversion er siden forblevet utrykt. Da CarlThis piano version remained unprinted. When in 1922

Nielsen i 1922 tilrettelagde førsteudgaven af Højskole-

Nielsen was organising the ﬁrst edition of The Folk

sangbogens Melodibog, udarbejdede han en ny klaver-High School Melody Book, he produced a new piano ver-version af sangen (nr. 146).

sion of the song (No. 146).
Nr. 230 Børnehjælpsdagens Sang (“Vi Børn, vi Børn, vi
No. 230 Child Welfare Day Song (“We boys and girls wevaagner”) er den ene af to sange, som Carl Nielsen

waken”), is one of two songs that Nielsen composed

skrev til Børnehjælpsdagen i henholdsvis 1911 og 1915

for Child Welfare Day in 1911 and 1915 (Nos. 230 and(nr. 230 og 236); herudover lod han tostemmige versio-

181

he also published two-voice versions of thener af sangene “Min Pige er saa lys som Rav” (nr. 392)

songs “Like golden amber is my girl” (No. 392) andog Fædrelandssang (nr. 339) publicere i forbindelse med

Danish Patriotic Song (No. 339) in connection with Child

Børnehjælpsdagen i henholdsvis 1921 og 1925.

236);

I januar 1911 havde Carl Nielsen svaret ja til

Welfare Day in 1921 and 1925.
In January 1911 Nielsen had agreed to com-at sætte musik til en Børnehjælpsdagens Sang, som skul-pose the music for a Child Welfare Day Song, whose

le forfattes af Johannes Jørgensen. Der skulle dog gåwords were to be written by Johannes Jørgensen. A

et par måneder, før Johannes Jørgensen ﬁk digtet fra

couple of months were to go by before Jørgensen pro-hånden. Det blev undfanget i begyndelsen af marts

duced the poem. It was conceived at the beginning ofmåned – i et nattog mellem Leipzig og Berlin – og

March – in a night train from Leipzig to Berlin – andsendt til komponisten fra Bonn den 11. marts 1911.

179

182

sent to the composer from Bonn on 11 March 1911.

177 Bror til digteren Jakob Knudsen, skuespiller ogsanger ved Det Kongelige Teater (1897-1925), hvor
han bl.a. havde spillet Arv ved uropførelsen af
Maskarade.
178 Brevet, antagelig skrevet i 1910, påført MS 33
2182.
179 Brev fra Johannes Jørgensen til Carl Nielsen af
11.3.1911.

179 Brother of theologian and author Jakob Knudsen;
Lars Knudsen was actor and singer at the Royal
Theatre (1897-1925), where amongst other roles heplayed Arv at the premiere of Nielsen’s Maskarade.
180 Letter, probably from 1910, MS 33 2182.
181 Child Welfare Day is an autonomous humanitarian organisation, which since its founding in
1904 has worked for children and the young in
Denmark. Every spring there is a Child Welfare
Day with processions, lotteries and so on. Down
the years a succession of cultural ﬁgures has contributed in various ways to raising money for thework of the organisation.
182 Letter from Johannes Jørgensen to Carl Nielsen of
11.3.1911.

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I slutningen af april var sangen komponeret, og i forbindelse med årets Børnehjælpsdag den 16. maj blev
“Vi Børn, vi Børn, vi vaagner” lanceret i ikke mindre
Nielsen composed the music at the end of April, andend tre forskellige trykte versioner: for klaver med

in connection with the annual Child Welfare Day on

underlagt tekst (nr. 230), for mandskor (nr. 325) og for

16 May “We boys and girls we waken” was launched intostemmigt børnekor (nr. 388), sidstnævnte version

no fewer than three different printed versions: for pi-

trykt som postkort, der blev solgt som en del af Børne-ano with underlaid text (No. 230), for male-voice choirhjælpsdagens aktivitet omkring indsamling af penge.

(No. 325) and for two-voice children’s choir (No. 388),

Endvidere udarbejdede Carl Nielsen en version forthe last of these printed as a postcard that was sold as

blandet kor (nr. 305), som dog forblev utrykt.

part of the Child Welfare Day’s fund-raising activities.
Nielsen also made a version for mixed choir (No. 305),

Nr. 231 Katholsk Ungdomssang (“Velsignet være du, vor

which, however, remained unpublished.

Herre, Gud”) er ifølge et notat i Carl Nielsens dagbog
komponeret den 24. maj 1913 til en tekst, som han antagelig modtog fra Johannes Jørgensen i januar sam-No. 231 Catholic Song of Youth (“Be blest forevermore,
our Lord, our God”), was composed, according to ame år. Den 15. juni blev den offentliggjort i Nordisk

diary entry, on 24 May 1913 to a text Nielsen prob-

Ugeblad for katholske Kristne

ably received from Johannes Jørgensen in January the

kirkekoret fra Sankt Ansgars Kirke i forbindelsen med

same year. It was published on 15 June in the Nordisk

det katolske kirkes landsmøde i Roskilde.

Ugeblad for katholske Kristne

183

184

the Catholic church’s national congress in Roskilde.
Nielsen reused the melody in his collectionog samme dag opført af
181

I øvrigt genanvendte Carl Nielsen melodien iand performed that day

by the choir of St Ansgar’s Church in connection with180

samlingen Salmer og aandelige Sange, hvor den – ganske
vist i ændret harmonisering – optræder til Vilhelm
Birkedals tekst “Jeg fandt en Trøst” (nr. 63).

Hymns and Spiritual Songs, where it appears to Vilhelm
Birkedal’s text “I found support” (No. 63) with a diffe-

Nr. 232 “Alt paa den vilde Hede” er antagelig kompone-

rent harmonisation.

ret i 1913. Siden kom denne salme af Grundtvig til atindgå i Salmer og aandelige Sange i en ﬁrstemmig koral-

No. 232 “On moorland barren, level” was probably

version (nr. 39). Ligesom det var tilfældet for ﬂere an-composed in 1913. This hymn by Grundtvig was later

dre af disse salmer, lod Carl Nielsen salmen ‘afprøve’

included in the Hymns and Spiritual Songs as a four-

ved en offentlig koncert inden den udkom på tryk.

182

part chorale version (No. 39). As with several other ofthese Hymns, Nielsen gave them a ‘trial run’ at a pub185

lic concert before they appeared in print.

180 Nordisk Ugeblad for katholske Kristne, 61 (1913), s.
378 (tekst) [25. maj] og s. 432 (musik) [15. juni].
181 Jf. brev fra Mogens Ballin til Carl Nielsen af
20.6.1913.
182 Carl Nielsen udarbejdede to – muligvis ﬂere
– ‘suiter’ fra Salmer og aandelige Sange, som blev
‘afprøvet’ ved offentlige koncerter forud for udgivelsen: “Under Korset stod med Smerte” (nr. 83),
“Korsets Tegn og Korsets Ord” (nr. 66) og “Fredmed dig! og Fred med eder!” (nr. 51) blev opført af
Det kongelige Operakor ved en koncert i Vor Frue
Kirke i København 12.4.1914. “Utallige Blomster”(nr. 84), “Hvi vil du dig saa klage” (nr. 62) og “Derer en Bøn” (nr. 42) blev opført ved en koncert iMattheuskirken i København 14.4.1914, de to
førstnævnte af kirkens kor under ledelse af Knud
Haase og sidstnævnte sunget af Elisabeth Schou.

Thus “On

183 Nordisk Ugeblad for Katolske Kristne, 61 (1913), p.
378 (text) [25 May] and p. 432 (music) [15 June].
184 Cf. letter from Mogens Ballin to Carl Nielsen of
20.6.1913.
185 Nielsen made two – perhaps even more – ‘suites’
from Hymns and Spiritual Songs, which were ‘trialled’ in this way at public concerts before thepublication: “Neath the Cross of the departed”(No. 83), “Sign and word of cross a shock” (No. 66)
and “Peace with you! And with each being!” (No.
51) were performed by the Royal Opera Choir at
a concert in The Church of Our Lady in Copenhagen 12.4.1914. “Though countless the ﬂowers”(No. 84), “Why do you wail, complaining” (No.
62) and “There is an earthly prayer” (No. 42), allof which were performed at a concert in St. Matthew’s Church, Copenhagen on 14.4.1914, theﬁrst two by the church choir directed by Knud
Haase, the last sung by Elisabeth Schou.

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Således blev “Alt paa den vilde Hede” opført den 17.
december 1913 ved en “Dobbeltkoncert for Julens Fattige” i hhv. Paladshotellets Koncertsal og Studentermoorland barren, level” was performed on 17 Decem-

foreningens Store Sal, hvor Ida Møller sang, akkompag-

ber 1913 at a “Double Concert for the Poor at Christ-

neret af Christian Christiansen og Axel Schnohr.
Eneste kilde til denne version er komponi-mas” in the concert hall of the Palace Hotel and theGreat Hall of the Student Society, where Ida Møller

stens blækrenskrift. Heri forekommer kun det førstesang, accompanied by Christian Christiansen andvers af Grundtvigs salme, hvorfor teksten til nærvæ-Axel Schnohr.

rende udgave gengives som den optræder i Salmer og

The only source for this version is the compos-

aandelige Sange.

er’s ink fair copy. This contains only the ﬁrst verse ofGrundtvig’s hymn; in the present edition the text is

Nr. 233 “Fredlys din Jord, Du danske Mand!”. Den 27.

given as it appears in Hymns and Spiritual Songs.

august 1914 sendte digteren Anders W. Holm uopfordret en afskrift af dette digt til Carl Nielsen i håb om,

No. 233 “Preserve your soil, each Danish man!”. On 27

at han ville sætte musik til det og lade det udkomme

August 1914 the poet Anders W. Holm sent Nielsensnarest muligt på Wilhelm Hansens Musikforlag.

an unsolicited copy of this poem, in the hope that he

Forfatterens ønske bundede i, at Politiken havde ladet

would set it to music and have it published as soon as

digtet trykke den 14. august s.å., og at han siden hav-

possible by Wilhelm Hansen Musikforlag. The author’s

de modtaget anerkendende ord fra hele landet. Han

wish was based on the fact that Politiken had printed

mente: “at De alene vil være i Stand til at give Digtet

the poem on 14 August that year, and that he hadden Melodi, som kunde gøre det til det fuldkomne

subsequently received words of appreciation from all

Udtryk for disse Dages Stemning.”

Carl Nielsen syntes godt om digtet, og villeover the country. He told Nielsen: “you alone are able
to give the poem a melody that would make it a fully186

rounded expression of the mood of these days.”183

gerne skrive musikken, men det metriske – forskellige
versfødder i versenes første og anden linie – voldte

Nielsen liked the poem and was happy to set it

ham umiddelbart problemer; efterfølgende svar til An-

to music, but the metre, with its different scansion inders W. Holm er et vidnesbyrd om, hvor samvittigheds-

the ﬁrst two lines of each verse, immediately caused

fuldt Carl Nielsen gik til værks i sådanne anliggender:

him problems; his reply to Holm testiﬁes to how conscientiously he applied himself to such matters:“De forstaar at dette ikke er nogen Kritik af Deres Digt.
Tværtimod kan jeg sige at det netop virker udmærket

“Please understand that this is not a criticism of yourat der er Brud paa det metriske og giver det ved Læs-poem. On the contrary I should say that this break inning forøget Liv. Det er ogsaa en let Sag for mig at gøre

the metre is very effective and gives it enhanced life

en lille Afvigelse og følge Deres Rhytme, men saa kan

when read. It would also be a simple thing for me toSangen aldrig blive, hvad man kalder, populær og det

make a little diversion and follow your rhythm. But

vilde være kedeligt paa Forhaand at se bort herfra. Det

in that case the song could never become what weer vanskeligt nok endda. Melodien maa til en saadan

would call popular, and it would be a pity to exclude

Sang være i den Grad nagelfast at Folket ikke kan tagethat possibility from the outset. It is difﬁcult enoughfejl af det elementæreste deri: Rhytmen.

as it is. The melody for such a song has to be so ﬁrmly
ﬁxed that people cannot go wrong in the most ele-

183 CNA, I.A.b.12.

mentary aspect, namely the rhythm.

186 CNA, I.A.b.12.

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Det er kun de to første Linier (i alle Vers) det
drejer sig om, og for mig er det ligemeget om de er jambiske eller trokæiske naar de blot er éns, altsaa at TrykIt’s only the ﬁrst two lines (in all the verses)

ket paa Ordene indtræffer paa samme Fod-Nummer.

that this concerns, and for my part it doesn’t matter(Undskyld dette Skomagerudtryk, som derwhether they are iambic or trochaic, so long as theymaaske alligevel er noget i, fordi det hele skal i en

are the same, i.e. the accentuation matches the foot.

Folkesang gaa som Fod i Hose).”184(Forgive the cobbler’s expression, which there
may be something in, because the whole thing has to

Der udspandt sig efterfølgende en længere strid om

ﬁt its folksong setting as perfectly as Cinderella andudgivelsen, idet en anden komponist

187

digtet i musik.

her slipper)”.

186

185

også havde sat

Det gik så vidt, at Nielsen gav forla187

get ordre til at standse udgivelsen af hans sang,
There ensued a lengthy battle over the publication,
since another composer
189

music.

188

had also set the poem todog på trods af dette udkom for sang og klaver i efteråret 1914 på Wilhelm Hansens Musikforlag.
Anders W. Holm lod i 1917 digtet indgå i sam-Things went so far that Nielsen ordered his
190publisher to halt publication of his song,which nev-

som

188

lingen Fredlys din Jord – Stemninger under Verdenskrigen.

ertheless appeared for voice and piano in the autumn
of 1914 from Wilhelm Hansens Musikforlag.
In 1917 Anders W. Holm included the poem inthe collection Fredlys din Jord – Stemninger under Verdenskrigen.

191

Nr. 234 “Est du modfalden, kære Ven” blev kompone189

ret 18. marts 1915

og var oprindelig tiltænkt samlin-

gen Salmer og aandelige Sange, men af ukendte årsager
blev melodien kasseret. Kildematerialet omfatter tre
forskellige versioner: to blyantskladder harmonise-

No. 234 “Are you discouraged, dearest friend”, was com192

posed on 18 March 1915

and was originally intended

ret af Carl Nielsen samt en renskrift harmoniseret
af Paul Hellmuth. Nærværende udgave bringer den

for the Hymns and Spiritual Songs, but for reasons un-version, der må antages at være Carl Nielsens seneste

known the melody was discarded. The source material

harmonisering.

consists of three different versions: two pencil drafts

hvorfor teksten til Grundtvigs salme er gengivet efterwith harmonisation by Nielsen and a fair copy with

Psalmebog for Kirke og Hjem (1911).

190

Ingen af kilderne indeholder tekst,

harmonisation by Paul Hellmuth. The present edition
gives the version that must be assumed to be Nielsen’s
193

Nr. 235 “Som Dug paa slagne Enge” er antagelig kom-None of the sources contains

poneret på samme tid som “Est du modfalden, kæretext; therefore the words to Grundtvig’s hymn are tak-Ven” (nr. 234), idet en blyantskladde til begge salmer

en from the Psalmebog for Kirke og Hjem (1911).

forekommer på samme nodeblad. Lige som det er til-latest harmonisation.

fældet med nr. 234, ﬁndes “Som Dug paa slagne Enge”
No. 235 “As dew on grassy acre”, was probably composed at the same time as “Are you discouraged, dear-

184 Brev af 30.8.1914 fra Carl Nielsen til Anders W.
Holm.
185 Hr Høhling?
186 Jf. breve fra Anders W. Holm til Carl Nielsen af
7.9., 9.9. og 10.9. 1914. (CNA, I.A.b.12).
187 Jf. brev af 8.9.1914 fra Carl Nielsen til Anders W.
Holm.
188 Jf. Schousboe, (1983-1984), s. 24.
189 Jf. brev fra Carl Nielsen til Anne Marie Carl-Nielsen af denne dato.
190 MS 33 2068.

est friend” (No. 234), since a pencil sketch for both
hymns appears on the same sheet of manuscript

187 Letter of 30.8.1914 from Nielsen to Anders W.
Holm.
188 Hr Høhling?
189 Cf. letters from Anders W. Holm to Nielsen of 7.9.,9.9. and 10.9.1914. (CNA, I.A.b.12).
190 Cf. letter of 8.9.1914 from Nielsen to Anders W.
Holm.
191 Cf. Schousboe (1983-1984), p. 24.
192 Letter from Nielsen to Anne Marie Carl-Nielsen ofthat date.
193 MS 33 2068.

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blandt kasseret materiale fra Salmer og aandelige Sange.
Kildematerialet omfatter to forskellige versioner: en
blyantskladde harmoniseret af Carl Nielsen og en renpaper. As was the case with No. 234, “As dew on grassy

skrift harmoniseret af Paul Hellmuth. Nærværendeacre” consists of material discarded from the Hymns

udgave gengiver komponistens harmonisering. Ogsåand Spiritual Songs. The source material comprises two

her er Grundtvigs tekst gengivet efter Psalmebog fordifferent versions: a pencil draft with harmonisation

Kirke og Hjem (1911).

by Nielsen and a fair copy with harmonisation by Paul
Hellmuth. The present edition uses the composer’s

Nr. 236 Barnets Sang (“Kom, i Dag maa alle synge”) er

harmonisation. Here too Grundtvig’s text is given ac-

Carl Nielsens andet musikbidrag til Børnehjælpsda-

cording to the Psalmebog for Kirke og Hjem (1911).

gen (se omtale under nr. 230), denne gang til tekst af
Johannes Dam. Det må antages, at sangen er blevet til

No. 236 Children’s Song (“Come today and join the cho-i løbet af april-maj 1915, idet Børnehjælpsdagen detterus”), is Nielsen’s second contribution to Child Welfareår fandt sted den 11. maj. Sangen udkom samtidig hos

Day (see discussion under No. 230, above), this time toWilhelm Hansens Musikforlag, som i øvrigt lod nodena text by Johannes Dam. It must be assumed that thefremstille gratis.

song was written during April-May 1915, since Child

Barnets Sang i en utrykt version for to lige stemmer

Welfare Day fell on 11 May that year. The song was pub-(nr. 389).

191

Ud over klaverversionen foreligger

lished at the same time by Wilhelm Hansens Musik194

forlag which also produced the music for free.

Apart

Nr. 237 Ariels Sang (“Selv naar Tordenen tynger”) stam-from the piano version, Children’s Song survives in an

mer fra Carl Nielsens musik til Helge Rodes Prolog

unpublished version for two equal voices (No. 389).

Shakespeare, opført tre gange i juni og juli 1916 på
192

Kronborg Slot.

I løbet af oktober samme efterår

No. 237 Ariel’s Song (“E’en when tempest oppresses”),

udkom Ariels Sang fra dette værk i en version for sang-comes from Nielsen’s music to Helge Rode’s Prologue

stemme og klaver hos forlaget Wilhelm Hansen.

Shakespeare, which was performed three times in June

Den første offentlige fremførelse af klaverversionen

195

and July 1916 at Kronborg Castle.

In October thatyear, Ariel’s Song from that work was published by Wilhelm Hansen in a version for voice and piano.

196

The

193

fandt antagelig sted den 3. oktober ved en sangafteni Odd Fellow Palæets Mindre Sal, hvor Anders Brems
akkompagneret af Gerda Brems bl.a. sang følgende

ﬁrst public performance of the piano version probably

tre Carl Nielsen-sange: Ariels Sang, Studie efter Naturen

took place on 3 October at a song evening in the Less-(nr. 238) og “Og jeg vil drage fra Sydens Blommer” (nr.

er Hall of the Odd Fellow Palæ, where Anders Brems

239). I det trykte program til koncerten anføres det, ataccompanied by Gerda Brems included three songs byde tre sange opførtes efter manuskript; de var m.a.o.

Nielsen: Ariel’s Song, Study on Nature (No. 238) and “Theikke trykt på dette tidspunkt.

South I’m leaving” (No. 239). The printed programme
indicated that Nielsen’s songs were performed from

191 Wilhelm Hansens stikkerbog; under nummer“CN 381” fremgår det, at Barnets Sang blev stukket 7.5.1915 og leveret gratis.
192 For en nærmere redegørelse for tilblivelsen af
dette værk, se CNU I/6, s. lvi-lxi.
193 Wilhelm Hansens stikkerbog; under nummer
16594 fremgår det, at Ariels Sang er blevet stukket
11.10.1916.

manuscript; meaning that they were not printed atthat point in time.

194 Wilhelm Hansen’s engravers’ book; the entry under “CN 381” shows that Children’s Song was engraved and supplied on 7.5.1915, without charge.
195 For a more detailed description of the origins of
this composition, see CNU I/6, pp. lvi-lxi.
196 Wilelm Hansen’s engravers’ book; the entry under 16594 shows that Ariel’s Song was engraved on
11.10.1916.

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Nr. 238 Studie efter Naturen (“Solen skinner i Naboens
Gaard”) til tekst af H.C. Andersen194tilhører den rela-tivt lille gruppe af selvstændige gennemkomponeredeNo. 238 Study on Nature (“Sunshine over the neighbour197

kunstsange, som Carl Nielsen skrev som moden kom-ing yard”), to a text by Hans Christian Andersen,

ponist. Sangen er antagelig blevet til i første halvdel

belongs to the relatively small group of through-af 1916, og udkom hos Wilhelm Hansen i løbet af ok-composed art songs composed by Nielsen in his ma-

tober 1916.

ture years. The song was probably written in the ﬁrst

sted ved Anders Brems’ sangaften den 3. oktober sam-half of 1916, and it appeared in print from Wilhelmme år (se omtale ovenfor under nr. 237), hvor sangen198

blev modtaget med jubel. Således skrev Gustav Hetsch

Hansen in October 1916.

The premiere probably took

195

Uropførelsen har sandsynligvis fundet

place at Anders Brems’ song evening on 3 October ofdagen efter i Nationaltidende (Aftenudgaven), at sangenthe same year (see discussion of No. 237, above), where“med uimodstaaeligt Lune, med ganske smaa Midler,

the song was acclaimed. The following day Gustav

blev lige saa meget ‘fortalt’ som sunget af Hr. Brems

Hetsch wrote in Nationaltidende (evening edition) that– en saa ideal Samvirken imellem Digter, Komponist

the song “with irresistible humour and quite modest

og Fortolker, at det m a a t t e virke; Nyhederne slog

means was ‘narrated’ as much as sung by Mr. Brems

i denne Gengivelse øjeblikkelig an og maatte gives 3– such an ideal co-operation between poet, composer

Gange!” Ikke underligt vandt sangen straks indpas i

and interpreter that it just had to work; the new songs

det danske koncertrepertoire og blev opført talrige

in this presentation immediately caught on, and it

gange i Carl Nielsens levetid – ikke mindst med An-

had to be encored twice!” Not surprisingly the songders Brems som fortolker.

immediately won a place in the Danish concert repertoire and was performed numerous times in Nielsen’sNr. 239 “Og jeg vil drage fra Sydens Blommer” er an-

lifetime – not least in Anders Brems’ interpretation.

tagelig blevet til i første halvdel af 1916 og har sandsynligvis oprindeligt været tiltænkt det andet hæfte

No. 239 “The South I’m leaving”, was probably com-

af samlingen En Snes danske Viser. Som nævnt ovenfor

posed in the ﬁrst half of 1916 and was probably origi-(s. 55) syntes Thomas Laub ikke om Holger Drach-nally intended for the second volume of A Score of Dan-manns tekst, hvilket sikkert har fået Carl Nielsen til

ish Songs. As mentioned above (p. 55) Laub did not likeat trække sangen ud af deres fælles sangprojekt udenHolger Drachmann’s text, which surely led Nielsen to

dog helt at kassere den. Selvom versionen for klaverwithdraw the song from their joint project, althoughog sang forblev utrykt i Carl Nielsens levetid, lod han

not to reject it totally. Although the version for piano

allerede i 1916 sangen udgive i enstemmig form iand voice remained unprinted in his lifetime, as early

Nye Melodier til de nyere Sangtekster i Johan Borups Dansk

as 1916 he had the song printed in single-voice form in

Sangbog redigeret af Carl Nielsen (nr. 421). Versionen for

New Melodies to the New Texts of Johan Borup’s Danish Song-sang og klaver blev opført den 3. oktober 1916 ved An-

book Edited by Carl Nielsen. (No. 421). The version for voice

ders Brems’ ovenfor omtalte sangaften (se nr. 237).

and piano was performed on 3 October 1916 at Anders
Brems’ song evening discussed above (see No. 237).

194 H.C. Andersens tekst til denne sang udkom første gang under titlen Skizze efter Naturen (“Solenskinner i Naboens Gaard, Husene ere saa lave”)
i Læsefrugter, samlede paa Litteraturens Mark af A.F.
Elmquist, 48/125 (1830). Aprilhæftet.
195 Iﬂg. Wilhelms Hansens stikkerbog blev Studie
efter Naturen stukket 11.10.1916. Sangen omtales i
et brev fra Thomas Laub til Carl Nielsen, dateret22.07.1916 (CNA, I.A.b.).

197 Andersen’s text was ﬁrst published under
the title Skizze efter Naturen (“Solen skinner i
Naboens Gaard, Husene ere saa lave”), printed
in Læsefrugter samlede paa Litteraturens Mark af A.F.
Elmquist, 48/125 (1830), April issue.
198 Wilhelm Hansen’s engravers’ book shows that
Study on Nature was engraved on 11.10.1916. The
song is discussed in a letter from Thomas Laub toNielsen, dated 22.07.1916 (CNA, I.A.b.).

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Carl Nielsens gengivelse af teksten er i ﬂere
henseender mangelfuld, hvorfor den her gengives
efter Holger Drachmanns original.

196

Nielsen’s version of the text is in several respects erroneous, and the words are printed here according to Holger Drachmann’s original.

199

Nr. 240 Blomstervise (“Danmarks Sommer gik sin
Gang”) stammer fra Ludvig Holsteins digtsamling Mos
og Muld fra 1917, og allerede samme år satte Carl Niel197

Blomstervise blev uropført ved

No. 240 Flower Lay (“Denmark’s summer went along”),

sen musik til digtet.

comes from Ludvig Holstein’s collection of poems Mos

Margrethe Lendrops romanceaften i Casinos Koncert-og Muld of 1917; Nielsen set the poem already in thesal den 9. februar 1918, og siden opførte hun sangen

200

Flower Lay was premiered at Margrethe

gentagne gange. En afskrift, som har tilhørt sangerin-

Lendrop’s evening of romances in the concert hall ofden Sylvia Schierbeck, tyder på, at også hun har haft

the Casino on 9 February 1918, and afterwards shesangen på sit repertoire.

same year.

198

performed the song over and over again. A copy belonging to the singer Sylvia Schierbeck indicates that201

she too had the song in her repertoire.

Nr. 241 Christianshavn (“Kong Christian stod paa Slotsholmens Grund”) til en tekst af Ove Bauditz blev til
i 1918 i anledning af 300-året for grundlæggelsen af

No. 241 Christianshavn (“King Christian looked frombydelen Christianshavn. Usædvanligt nok blev denne

his castle gate”), to a text by Ove Bauditz, was com-sang ikke publiceret af Wilhelm Hansens Musikforlag;

posed in 1918 on the occasion of the 300th anniversa-

den blev trykt uden nogen forlagsangivelse “I Kom-ry of the founding of the urban district of Christians-

mission hos Boghandler Schou, Torvegade 7”, som det

havn. Strangely enough this song was not publishedanføres på titelbladet.

199

by Wilhelm Hansens Musikforlag; it was printed
without any indication of publisher “By commission

Nr. 242 Danmark (“Vi elsker vort blomstrende Fædre-at the Schou Bookshop, Torvegade 7”, as indicated onland”). Det er ikke helt klart, hvornår denne sang til

202

tekst af Axel Juel er komponeret. En blyantskladde

the title page.

forekommer på et nodeark, der i øvrigt indeholder
No. 242 Denmark (“We dote on our ﬂowering nativeværker, som en komponeret i 1917, hvilket kunne tyde

land”). It is not entirely clear when this song to a text

på, at den er komponeret på dette tidspunkt. Imidler-

by Axel Juel was composed. A pencil draft appears on

tid blev digtet først offentliggjort i 1919 i digtsamlin-a sheet of manuscript paper that also contains works

gen Sange om Dannebrog.

composed in 1917, which may indicate that it was composed at this time. However, the poem was not pub-

196 Holger Drachmann, Samlede poetiske Skrifter, København 1906-1909, bd. 4, s. 26-27.
197 En skitse til Blomstervise (nr. 240) er skrevet på
samme stykke nodepapir som en skitse til Købmands-Vise (nr. 110) (MS 33 2110), som er komponeret i 1917.
198 MS 33 2019.
199 Tilsyneladende har Wilhelm Hansen været lidt
pikeret over at være blevet forbigået. I et brev
fra Wilhelm Hansen til Carl Nielsen, dateret26.07.1918, hedder det: “Vi læser i Bladene at De
har komponeret en Sang til Kristianshavn. Er det
en Sang som De har tænkt at lade trykke?” (Wilhelm Hansens Arkiv, 1916-1918 (A-Ø)).

lished untill 1919, in the collection Sange om Dannebrog.

199 Holger Drachmann, Samlede poetiske Skrifter, Copenhagen 1906-1909, vol. 4, pp. 26-27.
200 A sketch for Flower Lay (No. 240) was notated on
the same piece of manuscript paper as a sketch
for Merchant Song (No. 110) (MS 33 2110), which
was composed in 1917.
201 MS 33 2019.
202 Apparently Wilhelm Hansen was slightly annoyed at having been passed over. In a letter toNielsen dated 26.07.1918, Hansen observed: “Weread in the papers that you have composed asong about Kristianshavn. Is this a song that you
have seen ﬁt to have printed?” (Wilhelm Hansens
Arkiv, 1916-1918 (A-Ø)).

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Muligvis er sangen skrevet til sangeren Anders
Brems, idet blækmanuskriptet har tilhørt ham. Sangen foreligger tillige i to andre versioner, nemlig som
The song may have been written for the singer
Anders Brems, since the ink manuscript was owned

klaversats med underlagt tekst (nr. 253) samt for tolige stemmer (nr. 341).

by him. The song also survives in two other versions,

Kildematerialet omfatter en blyantskladde og

namely for piano with underlaid text (No. 253) andblækrenskrift uden tekst, hvorfor teksten er gengivet

for two equal voices (No. 341).

efter Axel Juels original.

The source material comprises a pencil sketch
and an ink fair copy without text; therefore the text is

Nr. 243 Gry (“Mørket viger, Dagen stiger”) stammer op-

here given according to Axel Juel’s original.

rindeligt fra et musikbilag med en enstemmig melodi
af Carl Nielsen, indlagt i den sønderjyske forfatterinde

No. 243 Dawn (“Dark is failing, day prevailing”), comes

Hansigne Lorenzens bog, Arveguld. Et symbolsk Digt byg-originally from a musical supplement with a single-

get over Guldhornfundet i Sønderjylland, der udkom i sep-line melody by Nielsen, included in the book by thetember 1919. Senere på året udarbejdede Carl Nielsen

South Jutland author Hansigne Lorenzen, Arveguld. Et

en version for klaver med underlagt tekst og den 14. no-symbolsk Digt bygget over Guldhornfundet i Sønderjylland,

vember sendte han det færdige manuskript til Wilhelm

which appeared in September 1919. Later that year

Hansen. Samtidig bad han forlaget om at undersøge,

Nielsen made a version for piano with underlaid text.

om det ville være muligt at gengive omslagsillustratio-

On 14 November Nielsen sent the ﬁnished manuscript

nen fra Arveguld i den trykte node. Omslaget var udar-

with the song to Wilhelm Hansen, at the same time

bejdet af Anna E. Munch og forestillede en ung kvinde

asking the ﬁrm to look into the possibility of using

med et guldhorn i hænderne. Og da noden senere på

the illustration reproduced on the title page to Arve-året udkom, var netop dette billede på titelbladet.

200

guld, which did indeed appear in the eventual publication of the song, showing a young woman with a

Nr. 244 “Det danske Brød paa Sletten gror” for klaver203

med underlagt tekst er antagelig blevet til i midten

gold horn in her hands.

1921. Den 18. juli dette år sendte Carl Nielsen manuNo. 244 “The Danish bread, it grows on plains”, for pi-

skriptet som bilag til et brev til Thorvald Aagaard.

ano with underlaid text, was probably composed in theSandsynligvis har satsen været tiltænkt førsteudga-

middle of 1921. On 18 July that year, Nielsen sent theven af Folkehøjskolens Melodibog, men uvist af hvilken

manuscript with a letter to Thorvald Aagaard. Probably

grund forblev denne version utrykt. Den eneste trykte

the setting was intended for the ﬁrst edition of The Folk

version af sangen (for sangstemme og klaver) ﬁndes iHigh School Melody Book, but for reasons unknown thissamlingen Tyve folkelige Melodier (nr. 139).
Kildematerialet udgøres af en blyantskladdeversion remained unprinted. The only printed versionof the song (for voice and piano) is found in the collec-

samt en afskrift af denne. Teksten til Aagaards digt gen-tion Twenty “folkelige” Melodies (No. 139).

gives som den optræder i Tyve folkelige Melodier (nr. 139).

The source material comprises a pencil sketch
and a copy of this. The text of Aagaard’s poem is here

Nr. 245 “Sof sött, du lilla Sonja!” er komponeret i marts

given as it appears in Twenty “folkelige” Melodies (No. 139).

1922 i Göteborg. Carl Nielsen havde på dette tidspunkt
i en årrække lejlighedsvis dirigeret Göteborgs Symfoni-

No. 245 “Sleep sweetly, little Sonja!” was composed inorkester som vikar for sin gode ven Wilhelm Stenham-

March 1922 in Gothenburg. For several years Nielsen

mar. Under de tilbagevendende ophold i Göteborg hav-

had been conducting the Gothenburg Symphony Orchestra on an occasional basis, as stand-in for his good

200 Jf. brev af 14.11.1919 fra Carl Nielsen til Wilhelm
Hansen.

203 Cf. letter of 14.11.1919 from Nielsen to Wilhelm
Hansen.

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de han udviklet et nært venskab med familien Mannheimer, hos hvem han boede, når han opholdt sig ibyen. Manuskriptet til denne lille vuggesang bærer
friend Wilhelm Stenhammar. On his frequent visitsdedikationen “Til min lille Veninde Sonja Helleberg”,

he had developed a close friendship with the Mannhei-

hvis familie tilhørte kredsen omkring familien Mann-mer family, with whom he stayed when he was in theheimer (Sonja Fürstenberg (f. Helleberg) har i 2009 overtown. The manuscript with this little lullaby carries

for redaktionen bekræftet, at hun stadig besidder Carlthe dedication “For my young friend Sonja Helleberg”.

Nielsens originalmanuskript med den nævnte dedikati-

The young Sonja belonged to the Mannheimer familyon). Eksistensen af sangen var ukendt, indtil den i 1954

circle. The existence of the song was not known until

atter dukkede op. Dette afstedkom, at forlaget Wilhelm

it resurfaced in 1954. This came about when Wilhelm

Hansen opfordrede Frank Jæger til at skrive en ny tekst

Hansen commissioned Frank Jæger to write a new text

til melodien – idet man sikkert ikke har anset den ori-

for the melody, probably because the original text was

ginale tekst for at være tilstrækkelig almen som vugge-

not considered to be sufﬁciently characteristic of a cra-sang. Og i 1954 udkom så sangen med ny tekst af Frankdle-song. And so the song was published in 1954 withJæger i hæftet Godnat til de små med Inge Aasted.

201

I nærværende udgave gengives sangen i sina new text by Frank Jæger in the volume Godnat til de204

originale skikkelse.

små med Inge Aasted.

In the present edition the song is given in its
Nr. 246 Sang for Dansk Arbejde (“Føden og Klæden,original guise.

Baaden og Teltet”) er en lejlighedssang til tekst af ValNo. 246 Song for Danish Labour (“Food, clothes, and ves-

demar Rørdam, komponeret i 1923, antagelig som etsel, tent tight and felted”), is an occasional song to a

bestillingsarbejde fra Landsforeningen ‘Dansk Arbejde’.

text by Valdemar Rørdam, composed in 1923, prob-

Sangen, som kun foreligger i denne version, blev ud-

ably as a commission from the National Danish Labour

givet samme år af denne forening og forhandledes “I

Association. The song, which only exists in this ver-Kommission hos Peder Friis”. Der kendes kun til én of-sion, was published that year by this society, and wasﬁciel opførelse af sangen i Carl Nielsens levetid, nem-handled “To commission by Peder Friis”. Only one ofﬁ-

lig i forbindelse med en radioudsendelse den 13. junicial performance of the song is known of in Nielsen’s

1928 – Dansk Digteraften. Valdemar Rørdam – hvor Aage

lifetime, as part of a radio broadcast on 13 June 1928 –Thygesen sang akkompagneret af Emil Selmar.

An Evening of Danish Poetry. Valdemar Rørdam – in which
Aage Thygesen sang, accompanied by Emil Selmar.

Nr. 247 “Du frie, danske Tunge”. I 1908 komponeredeCarl Nielsen på opfordring af Thorvald Aagaard en

No. 247 “Free language of our mother”. In 1908, on

melodi til Valdemar Rørdams digt “Vi frie Folk fra

invitation from Thorvald Aagaard, Nielsen composed

Norden”. Sangen skulle anvendes ved de danske skyt-

a melody to Valdemar Rørdam’s poem “We sov’reign

teforeningsgymnasters opvisning ved de olympiske

Nordic nation”. The song was to be used at the Dan-leje i London i 1908.

ish Riﬂe Club’s gymnastics display at the 1908 London

nævnte tekst som enstemmig melodi (nr. 418) og ar-

Olympic Games.

205

The song was later printed as a

202

Den blev siden trykt med sidst203

rangeret for trestemmigt børnekor (nr. 365).

single-line melody (No. 418) and arranged for three206

voice children’s choir (No. 365).

201 Se Wilhelm Hansens Arkiv, 1953-54, breve og kopier (1997/153).
202 Jf. brev af 9.12.1914 fra Thorvald Aagaard til Carl
Nielsen (CNA, I.A.b.).
203 Enstemmige Sange til brug for Højskoler, Gymnastikog Skytteforeninger, Wilhelm Hansen (1909), Nye
Melodier til de nyere Sangtekster i Johan Borups Dansk
Sangbog, Wilhelm Hansen (1916) og Melodier til
Sangbogen ‘Danmark’, Wilhelm Hansen (1924).

204 See Wilhelm Hansens Arkiv, 1953-54, breve og
kopier (1997/153).
205 Cf. letter from Thorvald Aagaard to Nielsen,
9.12.1914 (CNA, I.A.b.).
206 Songs in Unison for High Schools, Gymnastics and Riﬂe
Clubs, Wilhelm Hansen (1909), New Melodies for
New Song Texts in Johan Borup’s Danish Songbook,
Wilhelm Hansen (1916) and Melodies for the Songbook ‘Denmark’, Wilhelm Hansen (1924).

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I 1914 udkom melodien til en ny tekst – “Dufrie, danske Tunge” – af Johan Brydegaard i sangbogen Syng dig glad, og i 1923 arrangerede Carl Nielsen
In 1914 the melody was published with a newselv denne version for klaver med underlagt tekst itext – “Free language of our mother” – by Johan Bry-

forbindelse med en udgivelse af hæftet 31 Melodier til

degaard in the songbook Syng dig glad, and in 1923

Syng dig glad.

204

Nielsen himself arranged this version for piano with

Kildematerialet omfatter en blyantskladde

underlaid text as part of the publication 31 Melodier til

uden tekst samt den trykte udgave. Sidstnævnte har

207

tjent som hovedkilde for nærværende udgave. Teksten

Syng dig glad.

The source material consists of a pencil draft

er gengivet efter tekstbogen til Syng dig glad.

without text, and the printed edition. The latter is taken as the main source for the present edition. The text

Nr. 248-250 Tre julesangeis given according to the book of texts for Syng dig glad.

1923 var Carl Nielsens “julesangsår”. Således komponerede han i slutningen af året ikke mindre end

Nos. 248-250 Three Christmas carols

tre forskellige julesange, som alle blev offentliggjort

1923 was Carl Nielsen’s “Christmas carol year”. Towards

umiddelbart før jul.
Julesang (“Kom, Jul, til Jord, kom høje Gæst”, nr.

the end of the year he composed three different carols,
all of which were published just before Christmas.

248) til tekst af Johannes Wiberg, er antagelig kompo-

Christmas Carol (“Come, Christmas, come, ex-neret som den første af de tre julesange. En afskrift er

alted guest”, No. 248) to a text by Johannes Wiberg,således dateret 18. oktober 1923. Den blev i december

was probably the ﬁrst of the three to be composed.

udgivet som separattryk på forlaget Wilhelm Hansen.

205

Der foreligger ikke nogen nærmere vidnesbyrd

A copy is dated 18 October 1923. The song was published as a separate item by Wilhelm Hansen.

208

om, hvornår Julesang (“Himlen mørkner stor og stum”,

There is no precise evidence as to when Christ-nr. 249) til tekst af Mogens Falck er blevet til, men den

mas Carol (“Heaven’s gloom a world apart”, No. 249) toblev offentliggjort Lillejuleaften 1923 i Nationaltidende.

a text by Mogens Falck was composed, but it was pub-

Herudover udkom den som separattryk hos Wilhelm

lished on the day before Christmas Eve 1923 in Natio-

Hansen.

206

Til forskel fra de to andre julesange genan-

naltidende. In addition it appeared as a separate itemfrom Wilhelm Hansen.

209

By contrast with the other

204 Jf. korrespondance mellem Wilhelm Hansen og
Carl Nielsen (Wilhelm Hansen til Carl Nielsen
15.9.1923 hvor WH spørger, om Carl Nielsen selv
vil stå for klaversatsen; 22.9.1923 fremsender WH
teksten og imødeser et arrangement; 9.10.1923
fremsender WH korrektur til tre sange, heriblandt “Du frie, danske Tunge”).
205 Wilhelm Hansens stikkerbog; under nummer
18439 fremgår det, at Julesang med tekst af Johannes Wiberg blev stukket 12.12.1923. Korrespondancen mellem forlaget og Carl Nielsen antyder
lidt uklart, at der har været forhandlinger mellem Wilhelm Hansen, en organist Knud Malmstrøm og en pastor Nielsen angående fordelingaf tantieme. Tilsyneladende har Carl Nielsen foræret melodien til en kirke. I brev af 26.11.1923 fra
Wilhelm Hansen til Carl Nielsen hedder det: “Duhar givet dem Melodien uden andet forbehold
end optagelse i Højskolebladet.” (Wilhelm Hansens Arkiv, kasse 62, (N-G 1923)).
206 Af Wilhelm Hansen, Stikker-Bog, nr. 18413 fremgår
det, at Julesang med tekst af Mogens Falck blev
stukket 15.11.1923.

207 Cf. correspondence between Wilhelm Hansen
and Carl Nielsen (Wilhelm Hansen to Nielsen
15.9.1923, where WH asks whether Nielsen cantake care of the piano version; on 22.9.1923 WH
sends the text and anticipates an arrangement;
on 9.10.1923 WH sends the proof for three songs,
including “Free language of our mother”.
208 Wilhelm Hansen’s engravers’ book; entry No.
18439 indicates that Christmas Carol with text byJohannes Wiberg was engraved on 12.12.1923.
Correspondence between the ﬁrm and Nielsen
indicates rather vaguely that there were somenegotiations between Wilhelm Hansen, an organist by the name of Knud Malmstrøm and a pastor Nielsen concerning the division of royalties.
Apparently Nielsen had donated the melody toa church. In a letter of 26.11.1923 from Wilhelm
Hansen to Nielsen (Wilhelm Hansens Arkiv, kasse
62, (N-G 1923)) we read: “You have given them the
melody without conditions other than its inclusion in Højskolebladet.”
209 Wilhelm Hansen’s engravers’ book; entry No.
18413 shows that Christmas Carol with text by
Mogens Falck was engraved on 15.11.1923.

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vendte Carl Nielsen melodien til andre sangtekster,
nemlig “Dannevang med grønne Bred” (nr. 333) og “Erdin Stue lav og trang” (nr. 362), som begge i 1924 udtwo Christmas carols, Nielsen later reused the melody

kom i Melodier til Sangbogen ‘Danmark’.
Den sidste af de tre julesange, “Hjemlige Jul,for other song texts, namely “Denmark with your verdant shore” (No. 333) and “Is your dwelling low andstraaler Du nu!” (nr. 250), blev til i midten af decem-tight” (No. 362), both of which were published in 1924

ber 1923. Den 7. december sendte forfatteren Emilin Melodies for the Songbook ‘Denmark’.

Bønnelycke sit digt til komponisten, som må have sat

The last of the three Christmas carols, “Homely

teksten i musik med det samme, for allerede den 16.

Noel, splendently near!” (No. 250) was composed in thedecember blev sangen opført i Odd Fellow Palæet ved

middle of December 1923. On 7 December the author

Politikens sekstende Julekoncert. Ved denne lejlighed

Emil Bønnelycke sent his poem to the composer, whoblev den opført i et arrangement for orkester (sand-must have set it to music straight away, since the song

synligvis udarbejdet af Johannes Andersen), dirigeret

was performed already on 16 December in the Odd Fel-af komponisten selv. Dagen efter kunne man i Politiken

low Palæ at Politiken’s sixteenth Christmas concert. Onlæse en omtale af koncerten. Heri hed det bl.a.:this occasion it was performed in an arrangement fororchestra (probably by Johannes Andersen), conducted“Carl Nielsen gaar op paa Dirigentpladsen og siger

by the composer himself. The day after, Politiken carried

det ud til Folk: ‘Bønnelyckes Sang staar i Programmet,a review of the concert, including the following:nu spiller jeg Melodien – og saa synger De med saa
godt De kan!’ Og knapt har vi hørt Carl Nielsens ny“Nielsen mounts the conductor’s podium and address-

Melodi, der er saa enkel og stærk i Linjerne, saa hel ies the audience: ‘The words to Bønnelycke’s song are

Følelsen, saa fast i Formen, før Bønnlyckes kønne og

on the programme; now I’ll play the melody, and thenjævne Ord om den ‘Hjemlige Jul’ toner gennem Salen.

you sing along as best you can!’ And no sooner haveJa, hør . . . Salen synger! Først stille og forsigtigt, men

we heard Carl Nielsen’s new melody, which is so sim-

efterhaanden stærkere og mere sikkert, det synger fra

ple and strong in its lines, so complete in its feeling,alle Sider, og det siger alt det, vi føler – udløser som iand so ﬁrm in form than Bønnlycke’s beautiful anden Sum Stemningen som sunget ud af ét Sind. Det er

plain words about ‘Homely Noel’ sound throughout

smukt – et Øjebliks Højtid, der er den sunde og sande

the hall. Yes, listen... the hall is singing! At ﬁrst quietlyGlædes bedste Ven.”207

and cautiously, but gradually louder and more conﬁdently, singing from every side, singing everything weEndelig den 23. december blev sangen trykt i Maga-

are feeling – expressing the mood as if it came fromsinet (tillæg til Politiken). Tre år senere, i 1926, udkom

a single heart. It is beautiful – a moment’s solemnity,

den som selvstændig publikation på Peder Friis’

210

which is the best friend of true, healthy joy.”Musikforlag.

Finally on 23 December the song was printed in Ma-

Nr. 251 Balladen om Bjørnen (“De dræbte Bjørnens Un-

gasinet (supplement to Politiken). Three years later, inger”) er den absolut mest vægtige blandt de relativt få1926, it appeared as a separate publication from Pederstørre kunstsange fra Carl Nielsens senere år. Samti-

Friis’ Musikforlag.

dig er denne sang den eneste, hvor han anvender mo-

No. 251 Ballad of the Bear (“The bear’s two cubs were

207 Politiken, 17.12.1923.

murdered”), is by far the weightiest among the relatively few large-scale art-songs from Nielsen’s later

210 Politiken, 17.12.1923.

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dernistiske stilelementer, som ellers stort set kun optræder i hans instrumentalmusik. Teksten er på Carl
Nielsens foranledning forfattet af Aage Berntsen

208

years. It is also the only one in which he uses mod-efter et motiv af den svenske digter Carl Jonas Loveernist stylistic elements, which otherwise as a rule

Almqvist– en fortælling om en bjørn, hvis unger dræ-only appear in his instrumental music. The text was

bes. Som hævn griber bjørnen jægerens kæreste, og

211

af-

da jægeren vil skyde bjørnen for at befri hende, ram-

ter a theme from the Swedish poet Carl Jonas Love

mer han i stedet pigen. Blækrenskriften er slutdateret

Almqvist: the story of a bear whose cubs are killed.

9. januar 1924, men allerede den 15. november åretIn revenge the bear seizes the hunter’s beloved, andfør skrev Carl Nielsen til svigersønnen Emil Telmányi,when the hunter tries to shoot the bear and free her,at han havde færdigkomponeret værket.

written at Nielsen’s request by Aage Berntsen

Uropførelsen fandt sted ved en koncert den

he hits the girl instead. The ink fair copy is end-dated
9 January 1924, but Nielsen already wrote on 15 No-

13. marts, hvor Anders Brems sang akkompagneret af

vember the previous year to his son-in-law Emil Tel-

Christian Christiansen.

mányi that he had ﬁnished the work.

skrev Hugo Seligmann bl.a. om balladen:

209

I sin anmeldelse i Politiken

The premiere took place at a concert on 13
March, in which Anders Brems sang, accompaniedby Christian Christiansen.

212

In his review in Politiken“Den er af en Dristighed, der ikke giver nogen hyperradikal Modernist noget efter. Og den er af en Følsomhed, som viser Carl Nielsen i skønt og ømt Favntag

Hugo Seligmann wrote about the ballad:

med Lyriken. Genialiteten ligger i Syntesen, den for“In its audacity it yields nothing to the most hyper-

underlige Sammensmeltning af det realistisk-drama-

radical modernist. And it is of a sensitivity that shows

tiske og Hjertets dyre Uskyld.”

210

Carl Nielsen in a beautiful and tender embrace withthe text. His genius lies in the synthesis, in the won-I løbet af de næste par år opførte Anders Brems bal-derful fusion of the realistic-dramatic element withladen nogle få gange, endvidere sang Henry Skær den

213

en enkelt gang i 1926, men værket er forblevet en

the precious innocence of the heart.”sjældenhed på koncertprogrammerne.
Over the next couple of years Anders Brems per-Balladen om Bjørnen udkom – antagelig i mid-formed the ballad several times, and Henry Skærten af 1924 – hos Wilhelm Hansen med dedikation til

sang it on one occasion in 1926. But the work has re-Anders Brems.

mained a rarity on concert programmes.

færdiget bogstaverne på titelbladet.

211

Komponistens datter Søs havde ud212

Ballad of the Bear was published, probably inthe middle of 1924 – by Wilhelm Hansen,

214with a208 Jf. brev af 30.9.1946 fra Aage Berntsen til Torben
Meyer (CII, 10, Carl Nielsens Samling, Torben
Meyers papirer).
209 I et brev af 3.2.1924 fra Carl Nielsen til Emil Telmányi nævnes det, “at ‘Balladen om Bjørnen’ gjordestor Lykke”, hvilket kunne tyde på, at sangen
havde været opført (privat?) på dette tidspunkt.
210 Politiken, 16.3.1924.
211 Wilhelm Hansens stikkerbog; under nr. 18479
fremgår det, at Balladen om Bjørnen blev stukket
mellem 10.3. og 4.6.1924.
212 Jf. Schousboe (1983), s. 472.

dedication to Anders Brems. The composer’s daughter
Søs designed the lettering on the title page.

215

211 Cf. letter of 30.9.1946 from Aage Berntsen toTorben Meyer (C II, 10, Carl Nielsens Samling,
Torben Meyer’s papers).
212 In a letter from Nielsen to Telmányi (dated
3.2.1924) he observes “that ‘Ballad of the Bear’ hasgiven great pleasure”, which may indicate that thesong had been performed (privately?) at this time.
213 Politiken, 16.3.1924.
214 Wilhelm Hansens engravers’ book; entry No.
18479 shows that Ballad of the Bear was engraved
between 10.3. and 4.6.1924.
215 Cf. Schousboe (1983), p. 472.

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Nr. 252-260 Klaverudsættelser af sange fra Melodier til
Sangbogen ‘Danmark’: “Lad en og anden have Ret” (nr.
252), Danmark (nr. 253), “Kær est du, Fødeland” (nr.
Nos. 252-260 Piano arrangements of songs from Melo-254), “O, hvor jeg er glad i Dag!” (nr. 255), “Tyst som

dies for the Songbook ‘Denmark’: “Let people, just a few,

Aa i Engen rinder” (nr. 256), “Byg paa Sletten, ej paa

be right” (No. 252), Denmark (No. 253), “So dear myTinden” (nr. 257), “Vældige Riger rives om Jorden” (nr.

native land, thy name so sweet” (No. 254), “Oh, how258), “Solen er saa rød, Mor” (nr. 259) og “Naar Smaa-

glad I am today!” (No. 255), “Silent as a stream’s me-

børn klynker ved Aftentide” (nr. 260).
Samtidig med at Carl Nielsen i 1923-24 kompo-

ander” (No. 256), “Build on lowland, not above it” (No.
257), “Mighty the realms that rend earth asunder”

nerede og arrangerede en lang række sange for en-, to-(No. 258), “Look! The sun is red, mum” (No. 259) andog trestemmigt børnekor til Melodier til Sangbogen ‘Dan-“When babies whimper before the candle” (No. 260).

mark’, udarbejdede han klaverarrangementer til en

In 1923-24 at the same time as Nielsen wasdel af disse sange; noget kunne tyder på, at kompositi-

composing and arranging a large number of songs

onsprocessen forløb således, at han først udarbejdede

for single-, two- and three-part children’s choir foren klaversats, hvor melodi og harmonisering blev fast-

Melodies for the Songbook ‘Denmark’, he also made pi-

lagt, hvorefter han arrangerede satsen for børnekor.

ano arrangements for some of these songs; there is

Med en enkelt undtagelse (nr. 252)some evidence that the process involved ﬁrst writing

satser kun i komponistens blyantskladde. Kun to af

a piano version, in which melody and harmonisa-

satserne lader sig datere nøjagtigt: “Lad en og anden

213

foreligger dissetion were established, then arranging the music forhave Ret” (nr. 252) er dateret 15.2.1924, og Danmark

216(“Vi elsker vort blomstrende Fædreland”, nr. 253) er

children’s choir. With a single exception (No. 252)

these versions only survive in the composer’s pencil

dateret 10.1.1924, men de øvrige satser er efter al sand-drafts. Only two of the pieces can be precisely dated:synlighed blevet til fra slutningen af 1923 til begyndel-“Let people, just a few, be right” (No. 252) is dated

sen af 1924. Satserne bringes her i samme orden, hvori

15.2.1924, and Denmark (“We dote on our ﬂowering

de optræder i Melodier til Sangbogen ‘Danmark’.
Teksterne gengives efter tekstbogen til sang-native land” No. 253) 10.1.1924, while the remaining
pieces were in all probability composed around thebogen Danmark, idet kilderne er meget ufuldstændige

end of 1923 and the beginning of 1924. The songs are

med hensyn til tekster.

here published in the same order in which they appeared in Melodies for the Songbook ‘Denmark’.

Nr. 261 “Det vi véd, at siden slangens gift” er antage-

The texts are given according to the book of

lig komponeret i slutningen af 1923 eller i begyndel-

texts for the songbook Denmark, since the sources are

sen af 1924, idet eneste kilde – en blyantskladde – er

far from complete in this respect.

skrevet på samme stykke nodepapir som en skitse til

No. 261 “This we know that since the poison”, was

213 Denne sang udarbejdede Carl Nielsen i en blækrenskrift og sendte den til bratschisten Anton
Bloch (MS 32 3049). Renskriften er forsynet med
følgende ledsageskrivelse: “Kære Bloch! Det varede jo lidt længe inden jeg holdt mit Løfte til Dig,men her har du altsaa Melodien. Der skal mange
Gange Held til at træffe saadan en jævn Tone,
men naar den endelig er der, er Sagen jo ikke noget at tale om men kun Minutters Arbejde. Mange
Hilsener fra Din gamle Kammerat Carl Nielsen.”probably composed at the end of 1923 or the beginning of 1924, since the sole source – a pencil draft – ison the same piece of manuscript paper as a sketch forthe orchestral version of “A fair and lovely land” (see216 Nielsen made an ink fair copy of this song andsent it to violist Anton Bloch (MS 32 3049). The
fair copy was accompanied by the following note:“Dear Bloch! It has taken some time for me tokeep my promise to you, but here is the melody.
It takes many goes to hit such a straightforward
tone, but when it is ﬁnally there, it’s nothing to
speak of and is only a matter of a few minutes’
work. Warmest greetings from your old comrade,
Carl Nielsen”.

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en orkesterversion af “Der er et yndigt Land” (se nr.
262). Kilden indeholder kun sporadisk tekst til første
vers, hvorfor teksten gengives efter HøjskolesangNo. 262). The source contains only a partial text forbogen. Det vides ikke i hvilken anledning denne satsthe ﬁrst verse; therefore the text is here given accord-

er komponeret.

ing to The Folk High School Songbook. It is not known for
Nr. 262 “Der er et yndigt Land” foreligger i ikke færre

what occasion this piece was composed.

end syv versioner fra Carl Nielsens hånd, alle fra 1924;
No. 262 “A fair and lovely land”, survives in no fewer

af disse blev de fem trykt, mens de to kun kendes ithan seven versions in Nielsen’s hand, all from 1924;

manuskript:of these ﬁve were printed, while two are known only
klaver og sangnr. 262 (trykt)sang og orkester

nr. 291 (manuskript)

blandet kor

nr. 307 og 308 (trykt)

voice and orchestra No. 291 (manuscript)

mandskor

nr. 329 (trykt)

mixed choirNos. 307 and 308 (printed)

tre lige stemmer

nr. 334 (trykt)

male-voice choir

No. 329 (printed)

ﬁre lige stemmer

nr. 394 (manuskript)

in manuscript:
piano and voice

No. 262 (printed)

three equal voices

No. 334 (printed)

four equal voices

No. 394 (manuscript)

Trods disse mange versioner og trods Carl Nielsens
andre bestræbelser på at gøre sangen kendt har melo-

Despite these many versions and other efforts by Niel-dien ikke formået at gøre H.E. Krøyers kendte melodi

sen to get the song known, the melody did not suc-fra omkring 1830erne til den danske nationalsang

ceed in rivalling H.E. Krøyer’s well-known tune fromrangen stridig som den foretrukne.

214

Sangen er formentlig blevet til i slutningenaround the 1830s as the preferred melody for the Dan217

af 1923 som led i Carl Nielsens arbejde med den fol-

ish national anthem.

The song was presumably composed at the end

kelige sang gennem de foregående ca. 10 år, idet derof 1923, as part of Nielsen’s work on the “folkelige”

foreligger en række udkast til melodien i materiale,song over the previous ten years or so, since there

der kan dateres til december 1923. En måned senere, iare a number of sketches for the melody in materi-januar 1924, udarbejdede han en version for orkester

als that can be dated to December 1923. One monthog sendte den til sognefoged P. Johannesen i Skibby

later, in January 1924, he made a version for orchestra(der tilsyneladende havde bedt om en sådan udsæt-and sent it to local magistrate P. Johannesen in Skibby

telse), ledsaget af følgende korte note:

215(who had apparently asked for such an arrangement),
218

accompanied by the following short note:“Hermed den ønskede Sang, som jeg kun udsatte
fordi jeg kunde forstaa gennem en Samtale med Hr216

at man i Skibby virkelig havde varm Inte-“Herewith the requested song, which I have only ar-

A. Brems

ranged because I understood from a conversation

resse for Musik.

219with Mr A. Brems

Jeg sender Dem Partituret da jeg ikke faar Tid

that there is really warm interestat skrive Stemmerne ud.”

for music in Skibby.
I’m sending you the score, because I don’t
have time to write out the parts.”

214 I modsætning til Krøyers og Laubs melodier kom
Carl Nielsens end ikke med i Folkehøjskolens Melodibog.
215 Carl Nielsens manuskript (uden tekst) og efterfølgende brev i Odense Bys Museer (se MS Ext.22).
216 Anders Lauridsen Brems.

217 By contrast with Krøyer’s and Laub’s melodies,
Nielsen’s was not even included in the The Folk
High School Melody Book.
218 Nielsen’s manuscript (without text) and subsequent letter in the City of Odense’s Musuems (MSExt.22).
219 Anders Lauridsen Brems.

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Som svar på, hvad han skulle have i honorar for ulejligheden, frabad Carl Nielsen sig kontanter men bad istedet om “en And eller Høne fra Landet”.
Asked what he would like as payment for his trouble,

Herefter gik det slag i slag med nye versioner.

Nielsen refused money but asked instead for “a duckI slutningen af januar 1924 kunne en version for sangor a hen from the countryside”.

og klaver præsenteres ved en koncert i Hjørring,

Subsequently Nielsen made new versions

217

og i

februar forelå ifølge Wilhelm Hansens stikkerbog ver-one after the other. At the end of January 1924 a ver-sionen for femstemmigt kor, mens de øvrige versioner

sion for voice and piano was heard at a concert in– indleveret i maj – tilbageholdtes til efter førsteopfø-

Hjørring,

220

and in February, according to Wilhelm

relsen. Efter yderligere et par opførelser af mere privat

Hansen’s engravers’ book the version for ﬁve-voice

karakter fandt den ofﬁcielle uropførelse sted underchoir was engraved, while the remaining versions

betydelig bevågenhed ved Dansk Korforenings stævne

– delivered in May – were kept back until after thei København, og ved festkoncerten i denne anledningﬁrst performance. After another couple of more pri-på Det Kongelige Teater den 1. juni opførtes sangenvate performances the ofﬁcial premiere took place infor femstemmigt blandet kor og stort orkester underauspicious circumstances at the Danish Choral Socie-

Georg Høebergs ledelse; i koret medvirkede ikke færre

ty’s rally in Copenhagen, and at a gala concert in thisend “900 Sangere (Damer og Herrer) fra Blandede Kor

connection at the Royal Theatre on 1 June the songi Danmarks Byer”, som det hedder i programmet.

218

was performed by ﬁve-part mixed choir and large or-Dagen før koncerten bragte Politiken et kort

chestra under the direction of Georg Høeberg; in theinterview med Carl Nielsen om hans dristige foreha-choir were no fewer than “900 singers (ladies and gen-vende med en ny melodi til nationalsangen. I sin ind-tlemen) from mixed choirs in Danish towns”, as theledning skriver intervieweren:221

programme put it.

The day before the concert, Politiken published“Folk af Faget har saa godt som alle været enige om,a short interview with Nielsen about his bold inten-

at den gammelkendte Melodi – af Kantor Krøyer

tions with a new melody for the national anthem. By– ikke har stor musikalsk Værdi, og Carl Nielsens For-

way of introduction the interviewer wrote:søg paa at iklæde ‘Der er et yndigt Land’ ny Toner vil
derfor blive imødeset med usædvanlig Interesse.
Der er dog ogsaa dem, der mener, at en hævd-“The professionals have been virtually unanimousthat the old melody by cantor Krøyer is not of great

vunden, populær Melodi er ukrænkelig, at det lige-

musical worth, and Nielsen’s attempt to dress up

frem er Helligbrøde at røre ved den.”‘A fair and lovely land’ in new tones is therefore awaitAdspurgt om sin egen mening, svarer komponisten

ed with unusual interest.
On the other hand there are those who think

bl.a.:

that a time-honoured, popular melody should be inviolable, and that it is like sacrilege to touch it.”“Sagen er jo vanskelig, da Vanens Magt er stor, og
man i Virkeligheden maa give dem Ret, der mener,

Asked for his own opinion, the composer answered:at det egentlig ikke er et musikalsk Spørgsmaal, men“It’s a difﬁcult question, because force of habit is217 31.1.1924 med Thøger Rasmussen som solist.
218 Småtrykssamlingen, Dansk Korforening.

strong, and it is probably true that it is not actuallya musical question but something quite different.

220 31.1.1924 with Thøger Rasmussen as soloist.
221 Småtrykssamlingen, Dansk Korforening.

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noget helt andet. Folket griber en Sang og gør den
til Nationalsang, uden at nogen Magt kan forhindredet, og naar det sker, er det langt mere en TidsstemThe nation takes up a song and makes it a nationalning, end en litterær eller musikalsk Smag, der gør

anthem. No power on earth can prevent that, andUdslaget. Jeg indrømmer, at en saadan Melodi mere

when that happens it reﬂects the mood of the times

er et Symbol – ligesom Flaget, Korset o.l. – og behøver

much more than literary or musical taste. I consider

ikke at være ‘god’ i sig selv, men ... ja, nu forsøger jeg

that such a melody is more a symbol – like the ﬂag,

altsaa alligevel, saaledes er menneskelig Logik!”219

the cross, or what have you – and therefore it doesn’t
have to be ‘good’ in and of itself, but ... well, now I’m
222

trying myself; so much for human logic!”

Opførelsesmaterialet fra Det Kongelige Teater kendes
ikke, men det omtales i en række breve fra foråret
1924, klarest i Carl Nielsens brev til forlagsdirektør

There is no known performance material from theAsger Wilhelm Hansen:

Royal Theatre, but this is explicitly mentioned ina series of letters from spring 1924, most clearly in“Hermed sender jeg samtidig Partituret til ‘Der er etNielsen’s letter to company director Asger Wilhelm

yndigt Land’. Men sig til Jul. Rasmussen at det tilhører

Hansen:selvfølgelig mig og hvis Du mener Schnedler vil haveen Afskrift og spille Sangen i Tivoli f. Expl. den 3

de“At the same time I send you herewith the score fordeeller 4 Juni (altsaa efter Korforeningernes Opførelse)‘A fair and lovely land’. But tell Jul. Rasmussen that ofsaa lad ham kun faa det. Det kan jo aldrig skade.”

220

course it belongs to me, and if you think that Schnedler wants to have a copy and perform the song in Ti-

Kort efter, i august 1924, udkom melodien i Melodiervoli, for example on 3 or 4 June (i.e. after the Choral

til Sangbogen ‘Danmark’, udsat for tre lige stemmer (nr.

Society’s performance) then let him do it. It can’t do334), og også her måtte Carl Nielsen på ny i pressen223

og udtale sig om sit forehavende, denne gang med enany harm.”

vis sarkastisk undertone:
Shortly afterwards, in August 1924, the melody appeared in Melodies for the Songbook ‘Denmark’, arranged“Ja, med Hensyn til den slaar jeg mig netop stolt forfor three equal voices (No. 334), and here too Nielsen

mit Bryst. For om den kan jeg med Sandhed sige, atwent to the papers and explained his intentions, which

den er ikke skrevet forgæves. Den har bragt Kærlighe-

he did this time with a certain sarcastic undertone:

den til den gamle til at slaa ud i lys Lue. Saa om ikke
ved noget andet, jeg har skrevet, saa véd jeg da, at ved“Well, with respect to that I can certainly beat mymin Melodi til ‘Der er et yndigt Land’, har jeg faaet

breast with pride. For one thing I can truthfully say is

Folket i Tale!”221

that it was not written in vain. It has made people’s
love for the old blaze up. It has made people love the219 Fellow (1999), s. 311-312.
220 Wilhelm Hansens Arkiv, korrespondance, 19121935 (K-R).
221 Fellow (1999), s. 314.

old tune more than ever. Like nothing else I have written, I know that my melody for ‘A fair and lovely land’224

has given me access to the people!”

222 Fellow (1999), pp. 311-312.
223 Wilhelm Hansens Arkiv, korrespondance, 19121935, (K-R).
224 Fellow (1999), p. 314.

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Pressens modtagelse af den nye melodi beskæftigede
sig på den ene side med mulighederne for, at melodien ville slå an, og på den anden side med melodiens
The reception of the new melody in the press dealt

rent musikalske kvaliteter. Hvad det første angår,on the one hand with the chances that it would catchhæftede Berlingske Tidende sig ved det store bifald, men

on, and on the other with its purely musical quali-

fortsatte så: “Men dermed er dens Saga sikkert ogsaa

ties. Regarding the former, Berlingske Tidende noted theude. Thi man kasserer nu engang ikke en Sang, som

great applause, but continued: “But after that it will

er blevet hele Nationens, selv om der kom ti nye, dersurely be out of the running. Because we’re not goingvar bedre.”222

to throw away a song that has become the property

Socialdemokratens anmelder, Axel Wellejus, gikof the entire nation, even if ten more were to cometættere på sangens kvaliteter; efter at have hæftet sig

225

ved Krøyers “gammelkendte Skavank” at være “spids-

along that are better.”Socialdemokraten’s reviewer, Axel Wellejus,

takket i Rytmen” fortsatte han:went into more detail about the qualities of the song;noting Krøyer’s “well-known defects” as being his“Carl Nielsen har valgt en langt blidere, jævnt bøl-

“gable-pointed rhythms” he went on:

gende Rytme, der rammer i hvert Fald Digtets første
og tredie Vers udmærket. Til det ‘stærke’ andet Vers:“Nielsen has chosen a much softer, smoothly undulat-‘Der sad i fordums Tid’, passer Melodien – som tilmed

ing rhythm, which at any rate frames the poem’s ﬁrst

synges piano – ikke saa godt og giver ingen Nuance-

and third verses admirably. As for the ‘strong’ secondring paa de to saa forskellige Linier: ‘Saa drog de frem

one – ‘’Twas here in days of yore’ – the melody, which

til Fjenders Mén – nu hviler deres Bene.’
Det melodiske Motiv er overordentlig enkelt

is even sung piano, doesn’t ﬁt so well, and it makes forno distinction between the two very different lines:og bæres af en varm harmonisk Skønhed, som hæver

‘Then onward marched to strike the foe, – they linger

sig til virkningsfuld Patos i sidste Vers, og der er ikke

on in peace now.’mindste Tvivl om, at den ny Melodi vil arbejde sig ind

The melodic motif is extremely simple and is223

i Bevidstheden og opnaa en naturlig Popularitet.”

supported by a warm harmonic beauty, which rises toan effective pathos in the last verse, and there is not

Carl Nielsen arrangerede som nævnt ovenfor sangenthe slightest doubt that the new melody will worki yderligere en version for ﬁre lige stemmer (nr. 394),

its way into our consciousness and achieve a natural

omtalt i et brev af 20. juni 1924 til musikhandler F.L.

226

Siboni; her gør han opmærksom på en række afvigelser

popularity.”

i satsen i forhold til udgaven for blandet kor som følge
As mentioned above, Nielsen also made an arrange-

af, at “de ﬁre lige Stemmer er et andet Materiale, og jeg

ment for four equal voices (No. 394), discussed in a let-tror nok det vil klinge ordentlig paa denne Maade.”224

ter of 20 June 1924 to music dealer L. Siboni; here hedraws attention to a number of differences in the set-

222 Berlingske Tidende, 2.6.1924 under mærket K.F. (KajFlor).
223 Socialdemokraten, 2.6.1924.
224 MS 32 3051. Der ﬁndes yderligere en skitse til enstrygerversion af tredje vers (MS 33 2049, se faksimile s. 162) og en kladde til en messingblæserversion (MS 33 2152), som muligvis er forstadier til
det store orkesterpartitur. Messingblæserversionen bringes i CNU IV/1.

ting compared to the one for mixed choir, as a resultof the fact that “the four voices are another material,
227

and I believe it will sound pleasing this way.”

225 Berlingske Tidende, 2.6.1924 under the initials K.F.
(Kai Flor).
226 Socialdemokraten, 2.6.1924.
227 MS 32 3051. There is also a sketch of a string
version of the third verse (MS 33 2049, see facsimile p. 162) and a draft for a brass version(MS 33 2152), which are possibly preliminary
studies for the full orchestral score. The version
for brass is published in CNU IV/1.

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Nr. 263-265 Tre af de sange, som Carl Nielsen i 1926
komponerede til Nye Melodier til Johan Borups Dansk
Sangbog, foreligger tillige som klaversats med underNos. 263-265 Three of the songs Nielsen composed inlagt tekst i komponistens blyantskladde. Det drejer

1926 for the New Melodies for Johan Borup’s Danish Song-sig om: “Jeg kører frem gennem Straalefryd” (nr. 263),

book also survive in the composer’s pencil drafts as

som antagelig er komponeret omkring 19. maj (den er

piano versions with underlaid text. These songs are:skrevet på samme nodeblad som nr. 264), “Den gamle“I drive along in a splendent spell” (No. 263), which

Husmand staar ved Gavl” (nr. 264), komponeret 19.

was probably composed around 19 May (notated on

majthe same page as No. 264), “An old smallholder at his

ret 27. maj.

228

ground” (No. 264), composed on 19 May,229

og “Hver har sit, du har dit” (nr. 265) kompone226

Eneste kilde til disse tre versioner er bly-and “Youand I, everyone must qualify”, composed on 27 May

225

antskladderne, som kun har sporadisk tekst til første
vers, hvorfor teksterne gengives efter Borups Dansk(No. 265).

The only source for these three versions are

Sangbog.

the pencil drafts, which give only sporadic indicationsof text for the ﬁrst verse; therefore the texts are here

Nr. 266 “I kølende Skygger”, hvis tekst består af stro-taken from Borup’s Danish Songbook, 1926.

ferne 1-3 og 5 fra Johannes Ewalds digt Rungsteds Lyksaligheder, er komponeret den 8. maj 1926 som en delNo. 266 “In shadows so bracing”, whose text consists

af Carl Nielsens bidrag til Nye Melodier til Johan Borupsof verses 1-3 and 5 from Johannes Ewald’s poem Rung-

Dansk Sangbog.

230

227

Det er sandsynligt, at versionen forassangstemme og klaver er blevet til ikke længe her-part of Nielsen’s contribution to New Melodies for Johanefter. Ifølge et ikke længere bevaret brev havde Carl

Borup’s Danish Songbook. It is likely that the version for

Nielsen foreslået Adolf Riis-Magnussen, som var re-voice and piano was made not long afterwards. Ac-

daktør af det nye melodihæfte, at der – i lighed med

cording to a no longer preserved letter, Nielsen had

de to viseaftener som Thomas Laub og Carl Nielsen

proposed to Adolf Riis-Magnussen, the editor of theafholdt i hhv. 1915 og 1917 – blev foranstaltet en vi-

new book of melodies, that there should be a songseaften til præsentation af de nye melodier i Borups

evening organised for presenting the new melodies

sangbog.

in Borup’s songbook, similar to the two evenings offaldende lighed med En Snes danske Viser. Der er dog

songs that Nielsen and Laub had organised in 1915

intet der tyder på, at ideen om en sådan viseaften

steds Lyksaligheder, was composed on 8 May 1926

and 1917.

231

The style in this version also has a marked

228

Stilen i denne version har da også en på-

nogensinde blev realiseret. Nogle år senere arrange-similarity to that of A Score of Danish Songs. However,rede Carl Nielsen tillige sangen for klaver med under-

there is no evidence that the idea for such an evening

lagt tekst (nr. 281). Selvom han selv og Riis-Magnussenof songs ever came to fruition. Some years later Niel-var meget glad for melodien, slog den ikke for alvor

sen also arranged the song for piano with underlaidan; Richard Hove beskrev året efter komponistens død

text (No. 281). Although both Nielsen himself and Riis-

situationen således:

Magnussen very much liked the melody, it did not
really catch on; the year after the composer’s death,

225 Jf. dagbogsnotat.
226 Jf. dagbogsnotat.
227 Jf. dagbogsnotat.
228 En udførlig omtale af omstændighederne omkring tilblivelsen af denne sang ﬁndes i Torben
Schousboe og Sten Høgel, “‘I kølende Skygger’– en ukendt romance af Carl Nielsen”, Musik &Forskning, 7 (1981), s. 177-190.

Richard Hove described the situation thus:

228 Cf. diary entry.
229 Cf. diary entry.
230 Cf. diary entry.
231 A detailed discussion of the circumstances surrounding the origins of this song may be foundin Torben Schousboe and Sten Høgel, “‘I kølende
Skygger’– en ukendt romance af Carl Nielsen”,
Musik & Forskning, 7 (1981), pp. 177-190.

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“Kender Læserne hans Melodi til Ewalds ‘Rungsteds
Lyksaligheder’? Jeg tror det ikke, den staar ikke i nogen almindelig tilgængelig Samling, – og jeg citerer“Do readers know his melody for Ewald’s ‘Rungsteds

den her, fordi dens Skønhed ikke kan beskrives, det

Lyksaligheder’? I don’t think so, and it is not to bemaa høres, hvorledes Carl Nielsen kan følge Ewald

found in any generally available collection. I cite it

helt ind i det Mørke, som Roser udbrede.”229

here because its beauty is indescribable; you have tohear how Nielsen follows Ewald all the way in to the232

Det har ikke været muligt, at dokumentere nogen opførelse af versionen for sang og klaver i Carl Nielsens

darkness diffused by the roses.”levetid; derimod opførte sangerinden Sylvia Schierbeck
It has not been possible to document any perform-

230

denne version to gange kort efter Carl Nielsens død.

De eneste kilder til denne version for sang og

ance of the version for voice and piano in Nielsen’s
lifetime; however, Sylvia Schierbeck did sing it twice,klaver er komponistens blyantskladde, som er uden

233

vokaltekst, samt en afskrift af sangen blandt Sylvia

The only sources for this version for voice andSchierbecks efterladte papirer. Blyantskladden har

shortly after Nielsen’s death.

piano are the composer’s pencil draft, which lacks thefungeret som hovedkilde for nodernes vedkommende,

text, and a copy of the song in Sylvia Schierbeck’s pa-

mens teksten er gengivet efter Borups Dansk Sangbog.

pers. The pencil sketch has served as the main source
for the music, while the text is here given according

Nr. 267 Vocalise-Étude. I efteråret 1926 opholdt Carl Niel-

to the text book for Borup’s Danish Songbook.

sen sig i Paris, hvor der den 21. oktober blev afholdt en
ren Carl Nielsen-koncert i Salle Gaveau. Det må anta-

No. 267 Vocalise-Étude. In autumn 1926 Nielsen wasges, at han i denne forbindelse har knyttet kontakter

staying in Paris, where a concert consisting entirely oftil den franske musikforlagsverden, og at det var på

his music was taking place on 21 October at the Salle

denne baggrund, at det franske musikforlag AlphonseGaveau. It must be supposed that he made contact

Leduc i juni 1927 henvendte sig med en forespørgsel,with the French music-publishing world at this time.

om han for et honorar af 500 fr. ville komponere en

Possibly as a result, in June 1927 the ﬁrm of AlphonseVocalise-Étude. Den skulle i givet fald indgå i serien Ré-

Leduc came to Nielsen with the suggestion to com-

pertoire Moderne de Vocalises-Etudes (ﬁgurant aux program-pose a Vocalise-Étude, for a fee of 500 francs. This would

mes des Concours du Conservatoire de Paris) publiées sous

form part of the series Répertoire Moderne de Vocalises-

la Direction de A.L. Hettich Professeur au Conservatoire de

Etudes (ﬁgurant aux programmes des Concours du Conser-

Paris,

vatoire de Paris) publiées sous la Direction de A.L. Hettich

Ravel og Florent Schmitt allerede havde bidraget. Der

234

231

en serie, hvor komponister som Dukas, Fauré,

to which compos-

skulle være tale om en vocalise for mezzosopran med

ers such as Dukas, Fauré, Ravel and Florent Schmitt

en ambitus fra lille h til tostreget a. Carl Nielsen takke-

had already contributed. It was to be a vocalise forde ja til tilbuddet, og i løbet af sommeren 1927 færdig-

mezzo-soprano, with a range from b to a''. Nielsen ac-

gjorde han Vocalise-Étude (blyantskladden er slutdateret

Professeur au Conservatoire de Paris,

cepted the offer, and during the summer of 1927 hecomposed the Vocalise-Étude (the pencil draft is end-

229 Richard Hove, “Den danske Carl Nielsen”, Dansk
Musiktidsskrift, (1932), s. 9.
230 14.12.1931 i Østerbro Kammermusikforening,
akkompagneret af Poul Schierbeck (iﬂg. programmet var dette en førsteopførelse) og 22.04.1932
ved en mindekoncert for Carl Nielsen i Næstved,
akkompagneret af Carl Johan Grum.
231 CNA, I.A.b.

232 Richard Hove, “Den danske Carl Nielsen”, Dansk
Musiktidsskrift, (1932), p. 9.
233 14.12.1931 in Østerbro Kammermusikforening,accompanied by Poul Schierbeck (according to
the programme this was its ﬁrst performance)and 22.4.1932 at a memorial concert in Næstved
for Nielsen, accompanied by Carl Johan Grum.
234 CNA, I.A.b.

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17. juli), men med en ambitus fra c' til b'' , altså en halv
tone højere end forlaget havde ønsket. Herefter gik deret lille års tid, førend værket forelå trykt som et hæfte



dated 17 July) with a range from c' to b '' , a semitone

i den omtalte serie.
Det har ikke været muligt, at påvise nogen of-higher than the publisher had asked for. Some timethen went by before the work was printed as an issue

fentlig fremførelse af satsen i Carl Nielsens levetid.

in the above-mentioned series.
It has not been possible to identify any public

Nr. 268 Dansk Vejr (“Sus af Vind og Bølgeslag”) er
komponeret på opfordring fra tekstforfatteren Ove

performance of the piece in Nielsen’s lifetime.

Rodes hustru Line Rode. I forbindelse med sin mands
No. 268 Danish Weather (“Whistling wind and wash-

60 års fødselsdag havde hun i juni 1927 henvendt

ing wave”), was composed at the invitation of Line

sig til Carl Nielsen og fortalt ham, at det var hendes

Rode, wife of the author of the text, Ove Rode. She ap-

mands største ønske, at Carl Nielsen skulle sætte

proached Nielsen in connection with her husband’s

hans digt Dansk Vejr i musik. Ove Rode havde skrevet

60th birthday and told him that it was her husband’s

digtet mange år tidligere til en anden melodi. Det

greatest wish that Nielsen should set his poem Dan-var blevet optaget i det radikale venstres sangbog,

ish Weather to music. Ove Rode had written the poem

men var gledet ud igen, angiveligt fordi ingen kendte

many years earlier to a different melody. It had been

melodien.

included in the Radical Left’s songbook, but was omit-

tilsyneladende ikke stå for – han efterkom ønsket og

ted in subsequent printings, seemingly because nolod samme år sangen udgive på Borups Musikforlag;

235

one knew the melody.

232

Denne henvendelse kunne komponisten

samtidig udkom den i Det radikale Venstres Politisk

Apparently the composer

could not resist this invitation; he agreed to the re-

Aarbog og Almanak 1929.

233

Et par gange i 1929 fandt sangen vej til kon-quest and had the song published the same year by
Borups Musikforlag; at the same time is was pub-certsalen, idet sangeren Einar Nørby havde den på sit

lished in the Politisk Aarbog og Almanak 1929 of the po-repertoire.

litical party, Det radikale Venstre.

236

In 1929 the song found its way into the con-Nr. 269 “Den trænger ud til hvert et sted” til tekstcert hall a couple of times, when Einar Nørby took it

af Jens Christian Hostrup er komponeret på opfor-

into his repertoire.

dring af Ejnar Skovrup, som var redaktør af Tidsskrift
for dansk Folkeoplysning. Ifølge komponistens dagbog

No. 269 “It’s spreading everywhere with us”, to a text

blev den komponeret den 29. marts 1928, og alleredeby Jens Christian Hostrup, was composed at the re-den følgende måned tryktes sangen i Skovrups tids-

quest of Ejnar Skovrup, editor of the Tidsskrift for dansk

skrift.

234

Folkeoplysning. According to the composer’s diary, it
was written on 29 March 1928, and as early as the fol237

lowing month it was printed in Skovrup’s journal.

Nr. 270 “Jeg gik i marken og vogtede får” til tekst af
N.F.S. Grundtvig er komponeret på opfordring af orga-

No. 270 “Out in the ﬁelds I was watching the sheep”,

232 Jf. brev fra Line Rode til Carl Nielsen, 26.06.1927(CNA, I.A.b.). Historien bekræftes endvidere af to
udgaver af Sangbog udgivet af det radikale Venstre og
de radikale Ungdomsforeninger fra hhv. 1915 og 1924.
233 Hillerød 1928, s. 86-87.
234 Tidsskrift for dansk Folkeoplysning, 1 (1927/1928), s.
309, som kun gengiver et enkelt vers.

to a text by N.F.S. Grundtvig, was composed at the

235 Cf. letter from Line Rode to Nielsen, 26.06.1927(CNA, I.A.b.). This story is also supported by two
editions of the Sangbog udgivet af det radikale Venstre og de radikale Ungdomsforeninger from 1915 and
1924.
236 Hillerød 1928, pp. 86-87.
237 Tidsskrift for dansk Folkeoplysning, 1 (1927/1928), p.
309, where only one verse is printed.

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nisten Johannes Hansen fra Rødovre.

235

Ifølge kompo-

nistens dagbog blev den komponeret den 2. april 1928236

og senere samme år trykt i Højskolebladet.
request of the organist Johannes Hansen from Rød238

ovre.

According to the composer’s diary, it was writ-ten on 2 April 1928 and was printed later the same239

Nr. 271 “Apostlene sad i Jerusalem” til tekst af N.F.S.
Grundtvig er ligesom sang nr. 270 komponeret på opfordring af Johannes Hansen.

year in Højskolebladet.

237

Ifølge komponistensdagbog blev den komponeret den 2. april 1928.
No. 271 “Apostles convened in Jerusalem”, to a text by

Sangen er kun overleveret i komponistens bly-

N.F.S. Grundtvig, was composed, like No. 270, at the

antskladde med en sporadisk tekst til første vers,

240

According to the com-

hvorfor teksten gengives efter Højskolesangbogen.

poser’s diary, it was written on 2 April 1928. The song

Carl Nielsen omtaler i et brev til Thorvald

request of Johannes Hansen.

survives only in the composer’s pencil draft, with an

Aagaard fra 2. april 1928 det forhold, at han har skre-

incomplete text for the ﬁrst verse; the full text is here

vet nye melodier til tre sange fra Højskolesangbogen

printed according to The Folk High School Songbook.

(nr. 269, 270 og 271), hvor der allerede forelå kendte

In a letter to Thorvald Aagaard of 2 April 1928,

melodier – en af dem (nr. 269) endda af Aagaard selv:

Nielsen mentions the fact that he had written new
melodies for three songs from The Folk High School“Jeg tror ikke jeg har nogen Rettelser til Højskole-

Songbook (Nos. 269, 270 and 271), for which there were

sangb:, men jeg har, paa Opfordring af Skovrup skre-

already known melodies – one of them (No. 269) evenvet en ny Melodi til 186 (Den trænger ud – Hostrup)

by Aagaard himself:og paa Tilskyndelse af Johannes i Rødovre til 240 (David) og 261 (Apostlene sad), da jeg indser at [de] hidtil“I don’t think I have any corrections for the Folk High

brugte […] er mindre gode .”School Song Book, but I have on Skovrup’s request
written a new melody for 186 (It’s spreading – Hos-

Nr. 272 Guldﬂoden (“Der strømmer en Flod mod dettrup) and at the urging of Johannes in Rødovre forevige Hav”). Carl Nielsen var god ven med Harald Bal-240 (David) and 261 (Apostles convened), because I canslev, som var forstander for Ubberup Højskole, og ved

see that those in use up to now […] are not so good.”

ﬂere lejligheder leverede han en ny sang til Ubberup
Højskoles Aarsskrift (se også nr. 181 og 278). Således

No. 272 River of Gold (“The river that runs to per-også i 1928, hvor han satte musik til B.S. Ingemanns

petual sea”). Nielsen was good friends with Harald

digt Guldﬂoden.

238

Balslev, principal of Ubberup High School, and on
several occasions he composed a new song for Ubbe-

Nr. 273 “Nu ruger paa Reden i Fjer og Straa”. Denne

rup Højskoles Aarsskrift (see also Nos. 181 and 278). Thisversion for klaver med underlagt tekst af Ludvig Hol-he did in1928, when he set B.S. Ingemann’s poem
241

Guldﬂoden.

235 Jf. brev fra Carl Nielsen til Thorvald Aagaard,
2.4.1928. Johannes Hansen var gift med Thorvald
Aagaards søster, Inger.
236 Højskolebladet, 53 (1928), sp. 1627-1628.
237 Jf. brev af 2.4.1928 fra Carl Nielsen til Thorvald
Aagaard.
238 Ubberup Højskoles Aarsskrift, (1928), s. 4-5.

No. 273 “On straw and on feather the brooding call”.
This version for piano with underlaid text by Ludvig

238 Cf. letter from Nielsen to Thorvald Aagaard,
2.4.1928. Johannes Hansen was married to Aagaard’s sister, Inger.
239 Højskolebladet, 53 (1928), cols. 1627-1628.
240 Cf. letter from Nielsen to Thorvald Aagaard,
2.4.1928.
241 Ubberup Højskoles Aarsskrift, (1928), pp. 4-5.

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stein er antagelig blevet til i forbindelse med forberedelserne til en ny udgave at Melodier til Sangbogen ‘Dan239

mark’, som Carl Nielsen arbejdede med i 1929.
Holstein was presumably made in connection with

Eneste kilde er en blyantskladde, som kun indeholder

preparations for a new edition of Melodies for the Song-sporadisk tekst til første vers, hvorfor teksten gengives

242

book ‘Denmark’, on which Nielsen worked in 1929.

efter teksttillægget til sangbogen Danmark (1928).

The only source is a pencil draft, which contains only partial text for the ﬁrst verse; the full text

Nr. 274 Vi Jyder (“Vi er Jyder, Børn af Landet”) stammer

is therefore here given according to the text supple-

fra Vilhelm From Bartrumsens skuespil Fra Rold til

ment to the songbook Denmark (1928).

Rebild, hvortil Carl Nielsen komponerede musik til enenkelt sang.

240

Stykket blev opført på Aarhus Teater i

No. 274 We of Jutland (“Jutes we’re born and jutes we’re1929. Samme år udkom sangen med klaverledsagelse

staying”), comes from Vilhelm From Bartrumsen’spå Kaabers Musikforlag.

play From Rold to Rebild, to which Nielsen composed
243

The play was performed

Nr. 275 “Tanker skal tændes og skride” er oprindeligt

at Aarhus Theatre in 1929, and the song with piano

komponeret som en sats for mandskor og orkester til

accompaniment was published the same year by

Kantate til Polyteknisk Læreanstalts 100 Aars Jubilæum til

Kaabers Musikforlag.

tekst af Hans Hartvig Seedorff Pedersen.

music for this song only.

241

Kantaten

blev uropført den 30. august 1929. KlaverarrangemenNo. 275 “Thoughts must be lit, then exceeded”, wastet med underlagt tekst stammer fra et brev fra Carloriginally composed as a movement for male-voice

Nielsen til datteren Irmelin, dateret 6. august 1929,

choir and orchestra as part of the Cantata for the Cente-og er eneste kilde til denne version. Den gengiver kun

nary of the Polytechnic College to a text by Hans Hartvig

teksten til første vers, hvorfor teksten her er gengivet

Seedorff Pedersen.

244

The cantata was premiered onefter det trykte program til kantaten.

30 August 1929. This piano arrangement with underlaid text comes from a letter from Nielsen to his

Nr. 276 Hjemstavn (“Jeg vandrer over mine Fædres

daughter Irmelin dated 6 August 1929 and is the only

Jord”) til tekst af Frederik Poulsen er komponeret isource for this version. This source gives the text for1929 på opfordring af forfatteren. Blandt Carl Nielsens

the ﬁrst verse only; the full text is here given accord-

efterladte papirer ﬁndes en udateret afskrift af tek-

ing to the printed programme for the Cantata.

sten med følgende tilføjelse i Frederik Poulsens hånd:“Kære Hr Carl Nielsen! Dette lille Digt stod i ‘Politiken’

No. 276 Homecoming (“I wander over my ancestors’

for nogen Tid siden. Kan De ikke faa en pæn Kompo-

earth”), to a text by Frederik Poulsen, was composed

nist til at sætte Melodi til?”in 1929 at the request of the author. Among Nielsen’si indledningen til Frederik Poulsens bog Vi vandrer

242

Teksten ﬁndes endvidere

papers there is an undated copy of the text with thefollowing addition in Frederik Poulsen’s hand: “Dear239 Med brev til Wilhelm Hansen af 22.4.1929 sendte
Carl Nielsen 48 melodier til den reviderede udgave af Melodier til Sangbogen ‘Danmark’.
240 For en nærmere redegørelse for tilblivelsen af
denne sang, se CNU I/9, s. xlvi-xlvii.
241 For en nærmere redegørelse for tilblivelsen af
denne korsats, se CNU III/3, s. xix-xxii.
242 CNA, I.A.b.

Mr Carl Nielsen! This little poem was printed in ‘Politiken’ some time ago. Could you maybe persuade a

242 In a letter to Wilhelm Hansen of 22.04.1929, Nielsen sent 48 melodies for the revised edition of
Melodies for the Songbook ‘Denmark’.
243 For a more detailed description of the origins of
this song see CNU I/9, pp. xlvi-xlvii.
244 For a more detailed description of the origins of
this chorus, see CNU III/3, pp. xix-xxii.
245 CNA, I.A.b.

Carl Nielsen Udgaven CN 00051

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– Rejseskildringer og Skitser, som udkom i 1926, og i september 1929 sendte Frederik Poulsen denne bog til
Carl Nielsen. En måneds tid senere – den 30. oktober
245

kind composer to set it to music?”

The text is also to– slutdaterede han sin blyantskladde til sangen.
Carl Nielsen har tonesat Frederik Poulsens

be found in the introduction to Poulsen’s book Vi vandrer – Rejseskildringer og Skitser, which was publisheddigt således at et vers omfatter to af digtets vers. Den

in 1926, and in September 1929 Poulsen sent thiseneste overleverede kilde til sangen er komponistens

book to Nielsen. A month later, on 30 October, Nielsen

blyantskladde, hvori der kun gengives tekst til første

placed the end-date on his pencil draft of the song.

vers, men et gentagelsestegn efter sidste takt angiver

In Nielsen’s setting, each verse of the songklart, at Carl Nielsen har ønsket sangen udført med

sets two verses of the poem. The only surviving source

den fuldstændige tekst. Frederik Poulsens digt udgø-

for the song is the composer’s pencil draft, which

res imidlertid af syv vers, hvorfor det har været nød-

gives the text for the ﬁrst song-verse only, but a repeat

vendigt, at forkorte teksten med et vers, nemlig vers 6,

sign after the last bar clearly shows that Nielsen in-som har følgende ordlyd:

tended the song to be performed with the complete
text. Poulsen’s poem comprises seven verses, howev-

Nu er den Viljen, denne dunkle Lund,

er, which means that one has to be omitted, namely

der suger sig af Jord og Regnskyl sund,verse 6, whose words are as follows:

der ranker sig ved egne, indre Loveog hilser stolt paa andre, fjerne Skove.

Now it is the will, this dark grove,
Which draws sustenance from earth and rain,

De første – og antagelig eneste – opførelser af sangen

Which raises itself up by its own inner laws

i Carl Nielsens levetid fandt sted ved to koncerter den

And proudly greets other distant woods.

6. og 7. marts 1930 i Glyptotekets Festsal, hvor Aage
Thygesen sang akkompagneret af Christian Christi-

The ﬁrst performances of the song – and probably

ansen. Anmelderen –r-h. skrev i Nationaltidende om

the only ones in Nielsen’s lifetime – took place at two

Frederik Poulsens digt og Carl Nielsens musik, at “Iconcerts on 6 and 7 March 1930 in the Festival Hall of

Sprogfald og Rytme havde det fra Forfatterens Haandthe Glyptotek Museum, sung by Aage Thygesen, ac-

ikke megen musikalsk Tone, og Carl Nielsen syntes dacompanied by Christian Christiansen. The reviewer

ogsaa i sin Komposition at have haft vanskeligt ved at–r-h. wrote in Nationaltidende about Poulsen’s poem

komme til Rette med det.”243

and Nielsen’s music that “in cadence and rhythm theauthor’s words did not have much of a musical tone,

Nr. 277 “Der går et stille tog”. I midten af novem-

and in his composition Nielsen also seems to haveber 1929 opfordrede Harald Balslev Carl Nielsen til

found it difﬁcult to do them justice.”246

at sætte to digte af Bjørnstjerne Bjørnson i musik,
nemlig “Der går et stille tog” og “Fremtidens Land!”No. 277 “A silent ﬁle will reach”. In the middle of No-

med henblik på offentliggørelse i Ubberup Højskoles

vember 1929 Harald Balslev invited Nielsen to set two

Aarskrift.

244

Og lørdag den 23. november skrev Carl

poems by Bjørnstjerne Bjørnson, namely “A silent
ﬁle will reach” and “Country to come!”, with a view
to publication in the Ubberup Højskoles Aarsskrift.

243 Nationaltidende, 7.3.1930.
244 Jf. brev af 17.11.1929 fra Harald Balslev til Carl
Nielsen (CNA, I.A.b.).

247

246 Nationaltidende, 7.3.1930.
247 Cf. letter from Harald Balslev to Nielsen,
17.11.1929 (CNA, I.A.b.).

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Nielsen i sin dagbog: “Skrev Melodi til Bjørnsons ‘Dersgaar et stille Tog’ (til Harald Balslev Aarsskrift).” Satsen blev dog ikke udgivet i komponistens levetid,

245

og

On Saturday 23 November Nielsen wrote in his di-på renskriften er der – med fremmed hånd – tilføjet

ary: “Wrote a melody for Bjørnson’s ‘A silent ﬁle will

“ikke trykt fordi Prosodien var fundet ikke passendereach’ (for Harald Balslev’s Yearbook)”. However, thetil Mel[odien].”piece was not published in the composer’s lifetime,

248

Kildematerialet udgøres af en blyantskladdeand on the fair copy a comment is added in a foreign

og en blækrenskrift. Sidstnævnte har tjent som hoved-

hand: “not printed, because the prosody was foundkilde for nærværende udgave. I hovedkilden medtages

unsuitable for the melody.”

kun det første vers, hvorfor teksten er gengivet efter

The source material consists of a pencil sketch

Højskolesangbogen (11. udgave, 1926).

and an ink fair copy. The latter has been taken as
Nr. 278 “Fremtidens Land!” med tekst af Bjørnstjerne

the main source for the present edition. In the main

Bjørnson er ligesom nr. 277 blevet til på opfordring

source only the ﬁrst verse is included; the full text isththerefore taken from The Folk High School Songbook (11af Harald Balslev i november 1929, og torsdag den 28.

edition, 1926).

november kunne Carl Nielsen indføre i sin dagbog:“Skrev Melodi til Bjørnsons: ‘Fremtidens Land’”. Sam-No. 278 “Country to come!”, with text by Bjørnstjerneme år blev sangen trykt i Ubberup Højskoles Aarsskrift.

246

Bjørnson, was composed, like No. 277, at the invitationof Harald Balslev in November 1929, and on Thursday

Nr. 279-283 “Morgenhanen atter gol”, “Ind under Jul,

28 November Nielsen wrote in his diary: “Wrote a mel-hvor er det trist”, “I kølende Skygger”, “Dannebrog,

ody for Bjørnson’s: ‘Country to come!’”. The song wasvift med din Vinge” og “Har I nu Tænder i Riven

249

published that year in the Ubberup Højskoles Aarsskrift.

sat” blev komponeret i 1926 i forbindelse med Carl
Nielsens bidrag til Nye Melodier til Johan Borups Dansk

Nos. 279-283, “Morning cock again did crow”, “NighSangbog. Antagelig i 1929 udarbejdede Carl Nielsen

to Noel, how very sad”, “In shadows so bracing”, “Dan-versionerne for klaver med underlagt tekst.

nebrog, ﬂag in a ﬂutter” and “Now, did the rake get its

der Jul” blev trykt i Højskolebladet i december 1929,

latter prong”, were all composed in 1926 as part of Niel-mens “I kølende Skygger” og “Dannebrog, vift med

sen’s contribution to New Melodies for Johan Borup’s Dan-

din Vinge” blev trykt i Tidsskrift for dansk Folkeoplysning

ish Songbook. Probably in 1929 Nielsen made versions

i henholdsvis årgang 1929-30 og 1930-31.

250

for piano with underlaid text.
251“Ind un248

249“Nigh to Noel, howvery sad”, was printed in Højskolebladet in December
1929,

247

whereas “In shadows so bracing” and “Danne-

Nr. 284 “Det är höst” blev komponeret 7. december
1929, hvilket bekræftes såvel af Carl Nielsens dagbog

brog, ﬂag in a ﬂutter” were printed in Tidsskrift for dansk
252

Folkeoplysning, 1929-30 and 1930-31, respectively.

245 I 1953 blev denne sats udgivet i Ubberup Højskoles
Aarsskrift til en ny tekst (Lysets Tegn, “Vi ser udover hver en Egn”) af Harald Balslev og Uffe Hansen.
246 Ubberup Højskoles Aarsskrift, (1929), s. 4-5.
247 Satserne er skrevet på et nodeark med musik, derentydigt er komponeret i slutningen af 1929 (MS33 2136).
248 Højskolebladet, 54 (1929), sp. 1599-1602.
249 Tidsskrift for dansk Folkeoplysning, 3 (1929-30), s. 176
og 4 (1930-31), s. 441.

No. 284 “Autumn’s near”, was composed on 7 December 1929, as conﬁrmed both by Nielsen’s diary entry

248 In 1953 this song was published in Ubberup
Højskoles Aarsskrift with a new text (Lysets Tegn, “Vi
ser ud over hver en Egn”) by Harald Balslev andUffe Hansen.
249 Ubberup Højskoles Aarsskrift, (1929), pp. 4-5.
250 The songs are notated on a piece of paper together with music that was deﬁnitely composedat the end of 1929 (MS 33 2136).
251 Højskolebladet, 54 (1929), cols. 1599-1602.
252 Tidsskrift for dansk Folkeoplysning, 3 (1929-30), p. 176
and 4 (1930-31), p. 441.

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for denne dag som af hans blyantskladde af sangen.
Hverken kladden eller renskriften rummer oplysninger om tekstens forfatter, men efter sidste takt ifor that day and by his pencil draft of the song. Nei-

renskriften er der med fremmed hånd tilføjet “Almather the draft nor the fair copy contains informa-

Rogberg ?”. Bagest i sin dagbog for 1929 har Carl Niel-tion about the author of the text, but after the lastsen anført adressen “Fru Alma Rogberg, Nygatan 3,

bar in the fair copy a foreign hand has added “Alma

Södertälje, Sverrig”,

Rogberg?”. At the back of his diary for 1929 Nielsen

efter blev opført, anførtes Alma Rogberg som forfatter

added the address: “Fru Alma Rogberg, Nygatan 3,

til teksten i det trykte koncertprogram.

Södertälje, Sverrig”,

253

250

og da sangen nogle månederDer foreligger ikke nogen dokumentation

and when the song was per-formed some months later, Alma Rogberg was named

for, at Alma Rogberg og Carl Nielsen skulle have haftin the printed programme as author of the text.

kontakt med hinanden, da han i 1929 satte musik til
251

digtet “Det är höst”. Først den 22. januar 1931

There is no documentation of any contact be-

skrev

tween Alma Rogberg and Carl Nielsen at the time he

Alma Rogberg til Carl Nielsen. Af dette brev fremgår,set the poem “Autumn’s near” to music in 1929. Onlyat hun har fulgt levende med i hans karriere som

254

on 22 January 1931

komponist, men at deres bekendtskab synes at ligge

did Alma Rogberg write to Carl

Nielsen. From this letter it is apparent that she had tak-mange år tilbage. I brevet hedder det bl.a.: “Jag får been a lively interest in his career as a composer, but theirom ursäkt för att jag sände mina fotos; men det var

acquaintance seems to date from many years previous-

på uppmaning av min man, som mente att du kan-

ly: “I beg your pardon for sending you my photos; but it

ske icke hade en aning om vem Alma R varo.” Brevet

was my husband who encouraged me to do so, because

slutter: “Icke har du väl något fotos av dig från äldre

he thought that maybe you had no idea who Alma R

dagar? Med hjärtlig hälsning är jag ‘sommarkamra-was.” The letter closes: “Do you perhaps have some pho-ten’ från Helsingör.”

252

Alma Ulrikka Christensen blev født i Kø-tos of yourself from the old days! With warmest greet255

benhavn omkring 1870. Hun giftede sig med Georg

Alma Rogberg was born Alma Ulrikka Chris-

Daniel Rogberg, som var revisor i telegrafstyrelsen iings, I am your ‘summer friend’ from Helsingör.”

tensen in Copenhagen around 1870. She married Georg

Stockholm. Hun og hendes mand boede i Södertälje,Daniel Rogberg, who was an accountant in the tele-hvor hun døde i 1939. Hendes barnebarn, Elis Rogberg

graph ofﬁce in Stockholm. She and her husband lived

har oplyst, at hans farmor skrev mange digte, men at

in Södertälje, where she died in 1939. Her grandson

ingen af dem – så vidt han ved – blev publiceret. End-

Elis Rogberg recalls that she wrote many poems, none

videre har barnebarnet ingen viden om en relationof which – to his knowledge – was published. He knows

mellem Carl Nielsen og Alma Rogberg.

256

253

Tilbage står spørgsmålet om, hvornår Carlnothing of any relationship between her and Nielsen.

The question remains when Nielsen might haveNielsen kan have haft en “sommerkammerat” i Hel-

had a ‘summer friend’ in Helsingør and how he became

singør, og hvordan han blev bekendt med digtet “Detacquainted with the poem “Autumn’s near”. Perhapsär höst”. Muligvis er Alma Rogberg identisk med enAlma Rogberg is the same person as the Alma Christen-

Alma Christensen, som omkring 1889 var kærestesen, who around 1889 was the girlfriend of Nielsen’s
close friend, the violinist Julius Borup. A letter dated

250 Se fodnote i Schousboe (1983), s. 572.
251 Brevet er dateret 1930, men af indholdet fremgår
det klart, at der er tale om en fejlskrivning (CNA,
I.A.b.).
252 CNA, I.A.b.
253 Forskningsbibliotekar Eva-Maria Jansson har venligst bistået med undersøgelser i svenske arkiverog biblioteker. Dette arbejde har ført frem til
Alma Rogbergs barnebarn, civiløkonom Elis Rogberg (Landskrona), som har kunnet bidrage med
ﬂere faktuelle oplysninger til dette afsnit.

253 See footnote in Schousboe (1983), p. 572.
254 The letter is dated 1930, but from the contents it
is clear that this is a mistake (CNA, I.a.b.).
255 CNA, I.A.b.
256 Research Librarian Eva-Maria Jansson has kindly
assisted with searches in Swedish archives and libraries. This led to Alma Rogberg’s grandson, economist Elis Rogberg (Landskrona), who was able tocontribute several points of fact to this section.

Carl Nielsen Udgaven CN 00051

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med Carl Nielsens gode ven, violinisten Julius Borup.
I et brev (dateret 15.4.1889) fra Carl Nielsen til Emilie
Demant fremgår det klart, at denne Alma Christensen
15.4.1889 from Nielsen to Emilie Demant clearly indi-

havde besøgt Carl Nielsen, og samtidig var der tilsy-

cates that this Alma Christensen visited Nielsen, andneladende en kurre på tråden mellem vennerne Carlat the same time there was apparently some botherNielsen og Julius Borup.

257

between the friends Nielsen and Borup.

In addition

254

Endvidere kunne et mu-

ligt møde mellem Alma Christensen og Carl Nielsen

there may possibly have been a meeting between Alma

have fundet sted i sommeren 1890, hvor Carl Nielsens

Christensen and Nielsen in summer 1890, when Niel-plejemor, “Tante Marie”, lå på landet i Helsingør.

sen’s foster-mother, “Aunt Marie”, was spending theDette forklarer dog ikke, hvordan Carl Nielsen kunne

258

summer period in Helsingør.

However, this would255være kommet under vejr med Alma Rogbergs digt al-

not explain how Nielsen came by Alma Rogberg’s poem

lerede i 1929 – mere end et år før hun efter mange år

already in 1929, more than a year before she made con-henvendte sig til ham igen. Havde digtet mon ligget itact again after many years. Perhaps the poem had been

komponistens skrivebordsskuffe siden 1890erne?

lying in the composer’s desk drawer since the 1890s.

Sangen blev uropført den 6. marts 1930 ved

The song was premiered on 6 March 1930

en koncert i Glyptotekets Festsal, hvor Aage Thyge-

at a concert in the Glyptotek Festival Hall, where it

sen sang akkompagneret af Christian Christiansen.

was sung by Aage Thygesen, accompanied by Chri-

Koncerten blev gentaget næste dag, og senere samme

stian Christiansen. The concert was repeated the nextmåned – den 24. – blev sangen opført endnu engang,thday. Later that month, on the 24 , the song was per-denne gang i Odd Fellow Palæet af Kaj Oluf Buch

formed once more, this time in the Odd Fellow Palæmed Otto Olsen som akkompagnatør. Eksistensen af

with Kaj Oluf Buch, accompanied by Otto Olsen. The

en afskrift af denne sang blandt sangerinden Sylvia

existence of a copy of this song among the papers ofSchierbecks efterladte papirer lader formode, at ogsåthe singer Sylvia Schierbeck suggests that she too may

hun har haft den på sit repertoire.

have had it in her repertoire.
Nr. 285 “Danmark, nu blunder den lyse Nat” til ThøNo. 285 “Denmark, now slumbers the Northern

ger Larsens digt komponerede Carl Nielsen ifølge

night”, to a poem by Thøger Larsen, was composed,

dagbogsnotat den 9. december 1929, og godt og vel ti

according to Nielsen’s diary entry, on 9 December

dage senere – den 20. december – udarbejdede han en

1929, and a little over ten days later, on 20 December,version for klaver med underlagt tekst.

he made a version for piano with underlaid text.

259

256

Manuskrip-

tet til denne klaverversion blev offentliggjort som fak-The manuscript for this piano version was publishedsimile i dagbladet Politiken den 1. januar 1930. Sangenin facsimile in Politiken on 1 Januar 1930. In the news-

ledsagedes i avisen af en kort omtale af baggrunden

paper the song was accompanied by a short descrip-

for den nye melodi. Heri hedder det, at en af avisenstion of the background to the new melody, explaininglæsere havde beklaget sig over, at der ikke fandtes enthat readers had complained that none of the existing

fyldestgørende melodi til dette digt:

melodies for this poem was satisfactory:“Vi talte om det med Carl Nielsen, som i Begyndelsen“We spoke to Carl Nielsen about this, who initially

var lidt betænkelig. Han kendte godt baade Digtet og

was somewhat uneasy. He knew both the poem andﬂere af Melodierne, og heller ikke han syntes, at deseveral of the melodies well, and he too felt that thelatter did not measure up. However, he promised to

254 Se Fellow (2005), s. 87.
255 Se brev fra Carl Nielsen til Emilie Demant af
14.5.1890.
256 Jf. datering i MS 33 2031.

257 See Fellow (2005), p. 87.
258 See letter from Nielsen to Emilie Demant of
14.5.1890.
259 Cf. dating MS 33 2031.

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helt ud dækkede. Han lovede imidlertid at prøve, og et
Par Dage efter meddelte han os, at han efter 4-5 forskellige Udkast – vor store Komponist gaar, som mantry, and a few days later he reported that after four or

ser, grundigt til Værks – troede at have faaet en Melo-ﬁve drafts – our great composer clearly takes his workdi, som ikke alene fulgte Digtets Rytme og Fald, menseriously – he believed he had found a melody thatogsaa havde over sig noget af det milde Sind, hvor-

not only caught the poem’s rhythm and cadence but

med Thøger Larsen, den ellers saa barske og stride,

also had something of the gentle spirit with which

her gik den danske Sommer i Møde.”257

Thøger Larsen, who is often so harsh and rough, here260

Den 13. januar 1930 takkede Thorvald Aagaard Carl

greeted the Danish summer.”

258

Nielsen for den nye melodi,

idet han dog samtidig

On 13 January 1930 Thorvald Aagaard thanked Niel-gav udtryk for en vis betænkelighed, fordi Oluf Ring

261

allerede på dette tidspunkt havde komponeret en me-

sen for the new melody,at the same time express-

ing certain misgivings, because Oluf Ring had already259

lodi, der var blevet optaget i Folkehøjskolens Melodibog.

composed a melody that had been included in the The
262

Nr. 286 Gensyn (“Hvor blev den Blomst, som fyldte”)

Folk High School Melody Book.

er ved siden af den tidlige sang “Aldrig hans Ord kan
No. 286 Retrospect (“What happed to blooms that rel-jeg glemme!” (nr. 223) den eneste tekst af Frederik

ished”) is, apart from the early song “Ne’er may his

Paludan-Müller, som Carl Nielsen satte i musik (dig-words be forsaken!” (No. 223), the only text by Frede-tet stammer fra 1838). Ifølge et dagbogsnotat er den

rik Paludan-Müller that Nielsen set (the poem dates

komponeret lørdag den 4. januar 1930, og få månederfrom 1838). According to a diary entry, it was com-efter blev den trykt i Højskolebladet.

260

posed on Saturday 4 January 1930, and a few months
later it was printed in Højskolebladet.

263

II. RECITATION AND PIANO, CHOIR AND PIANO,
VOICE AND INSTRUMENTAL ENSEMBLE (Nos.
287-292)

II. RECITATION OG KLAVER, KOR OG KLAVER,
SANG OG INSTRUMENTALENSEMBLE (nr. 287292)
Recitation og klaver (nr. 287)
Nr. 287 Island (“I gamle Dage – for over hundred

Recitation and piano (No. 287)

tusind Aar tilbage”) for recitation med ledsagende

No. 287 Iceland (“In former ages, – ‘Fore hundred thou-klaver er det eneste eksempel på denne genre i sang-sand years of time’s rampages”), for recitation withbindene, men recitations-genren kendes fra Carl Niel-piano accompaniment, is the only example of thissens musik til ﬂere skuespil og kantater (f.eks. Snefrid

genre in the song volumes, but the genre itself may

og Franz Neruda in memoriam).
Island til tekst af orlogskaptajn Otto Lagoni

also be found in Nielsen’s music for several plays andcantatas (e.g. Snefrid and Franz Neruda in memoriam).
Iceland, to a text by naval commander Otto

er komponeret omkring årsskiftet 1928-1929, idetblækrenskriften er slutdateret 29. januar 1929. Lagoni

Lagoni, was composed around New Year 1929, the ink

havde i 1924 på eget forlag udgivet samlingen Digte,

fair copy being dated 29 January 1929. In 1924 Lagoni

hvori Nordens lande beskrives. Angiveligt skulle han

had published under his own imprint the collection
Digte, in which the Nordic countries were described. It

257 Citeret efter Fellow (1999), s. 540-541.
258 Thorvald Aagaard til Carl Nielsen, 13.1.1930(CNA, I.A.b.).
259 Det er Oluf Rings melodi, der i dag er den kendte, mens Carl Nielsens aldrig har slået an.
260 Højskolebladet, 55/14 (1930), sp. 435-436.

has been claimed that Lagoni had insistently request-

260 Full text in Fellow (1999), pp. 540-541.
261 Aagaard to Nielsen, 13.1.1930 (CNA, I.A.b.).
262 Oluf Ring’s melody remains the one known today, while Nielsen’s has never caught on.
263 Højskolebladet, 55/14 (1930), cols. 435-436.

Carl Nielsen Udgaven CN 00051

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indstændigt have opfordret Carl Nielsen til at kompo261

nere dette værk,men der er ikke overleveret vidnes-

byrd om nogen forbindelse mellem Lagoni og Carl264

ed Nielsen to compose this work,

but no evidence

Nielsen, ligesom sidstnævnte tilsyneladende heller

survives of a connection between Lagoni and Nielsen,

ikke har nævnt stykket noget sted i sin meget omfat-

nor did Nielsen ever name the piece anywhere in his

tende korrespondance.
Der kendes ingen offentlig fremførelse af

extensive correspondence.
No public performance of Iceland in its origi-

Island i originalversionen for klaver og recitation i

nal version for piano and recitation is known in the

komponistens levetid, men Emil Reesen udarbejdede icomposer’s lifetime; but in 1930 Emil Reesen made an1930 en orkesterversion, som blev spillet ved en radio-

orchestral version that was played in a radio concert

koncert den 27. juli 1930 i anledning af det islandske

on 27 July 1930 on the occasion of the Iceland parlia-

altings tusindårsfest.

ment’s millennial celebrations.

265

262

I 1929 blev der fra forskelligt hold arbejdet

In 1929 various attempts were made towards

på en opførelse af Carl Nielsens version af værket påa performance of Nielsen’s version of the work in Ice-

Island. På foranledning af Otto Lagoni skrev den is-land. Thus at the request of Otto Lagoni, the Icelandic

landske ambassadør i København, Sveinn Bjørnsson,ambassador in Copenhagen, Sveinn Bjørnsson, wrotesåledes den 26. august 1929 til den komité, der skulleon 26 August 1929 to the committee dealing with thetage sig af tusindsårsfejringen på Thingvellir i 1930,

millennial celebrations in Thingvellir in 1930 andog foreslog, at Carl Nielsens Island ﬁk en placering isuggested that Nielsen’s Iceland should be included.

fejringen. Den 25. september afgav komitéen sit svar,

On 25 September the committee gave its answer, tosom gik ud på, at der kun kunne være tale om et rent

the effect that there could be no question of anythingislandsk værk. Kort forinden (offentliggjort i Morgun-

but a purely Icelandic work. Shortly before then (asbladid 22. august) var Carl Nielsen til gengæld blevet

published in Morgunbladid 22.8.1929) on the otherudnævnt som medlem af den tremandskomité, derhand, Nielsen was nominated to the three-man com-skulle vælge vinderværket i en kantatekonkurrence,mittee charged with chosing a winner of a cantata

der var blevet udskrevet i Island.

266

263

Ved et møde i Kø-Atbenhavn den 8. november 1929 fandt komitéen frema meeting in Copenhagen on 8 November 1929, thetil Pál Isólfsson som vinder (bekendtgjort i Morgunbla-

committee came up with Pál Isólfsson as the winner

did den 20. november), og det blev da også hans kan-(announced in Morgunbladid on 20 November), and sotate, der blev sunget og spillet i 1930.

competition that had been arranged in Iceland.

264

267

it was his cantata that was performed in 1930.

Kor og klaver (nr. 288-289)
Choir and piano (Nos. 288-289)

De to sange for kor og klaver stammer begge fra

The two songs for choir and piano both come frommusikken til Adam Oehlenschlägers Sanct Hansaften-

the music to Adam Oehlenschläger’s play Midsummer

spil, der blev opført i Dyrehaven i juni 1913.

Eve Play, which was performed at the woodland park

foreligger i Carl Nielsens renskrift i denne version,

268

Dyrehaven north of Copenhagen in June 1913.

Both

265

Begge

forsynet med hver sin håndskrevne titelside, og dewere fair copied by Nielsen in this version for choir
261 Meyer og Schandorf Petersen (1947-1948), bd. 2, s.
304-305.
262 Radio-symfoniorkestret, Aage Garde (recitation),
Emil Reesen (dirigent). Materialet til orkesterversionen beﬁnder sig i Danmarks Radios nodearkiv,
hvilket kunne tyde på, at Reesen har instrumenteret værket med radioopførelse for øje.
263 De øvrige to medlemmer var Sigfús Einarsson og
Haraldur Sigurdsson.
264 Venligst meddelt af Bjarki Sveinbjørnsson og
Knud Ketting.
265 Se CNU I/6.

264 Meyer & Schandorf Petersen (1947-1948), vol. 2,
pp. 304-305.
265 Radio Sympony Orchestra, with Aage Garde asreciter, conducted by Emil Reesen. The materialsof the orchestral version are in Denmark Radio’s
Music Archive, which may indicate that Reesen
made his instrumentation with a radio performance in mind.
266 The other two members were Sigfús Einarssonand Haraldur Sigurdsson.
267 Information kindly supplied by Bjarki Sveinbjørnsson and Knud Ketting.
268 See CNU I/6.

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har formentlig været brugt i forbindelse med indstuderingen af værket. “I Skyggen vi vanke” (nr. 288) er
for damekor og klaver, mens “I Maaneskin titter” (nr.
and piano, each with its own handwritten title page,289) er for blandet kor ledsaget af enstemmigt børne-and they were presumably used in connection withkor og klaver. Førstnævnte indgik efterfølgende i En

rehearsals for the work. “In shadows we wander” (No.

Snes danske Viser fra 1915 (se nr. 89). Manuskripternes

288) is for female choir and piano, while “As moon-

udseende med selvstændige titelblade kunne tyde på,

light entrances” (No. 289) is for mixed choir and uni-at der har været planer om en udgivelse, der i så faldson children’s choir with piano. The former song was

ikke er blevet til noget.

subsequently included in A Score of Danish Songs ofher som selvstændige versioner af de to sange.

266

Af denne grund gengives de1915 (see No. 89). The appearance of the manuscripts
with their independent title pages may indicate that

Sang og instrumentalensemble (nr. 290-292)

there were plans for publication, which evidently

Flere af Carl Nielsens sange blev opført med orkester-

269

came to nought.

For this reason the two songs areledsagelse i Carl Nielsens levetid, således I Seraillets
Have, Studie efter Naturen, Æbleblomst (instrumenteretpublished here as separate items.

af Poul Schierbeck), I Aften, Genrebillede, Silkesko over

Voice and instrumental ensemble (Nos. 290-292)

gylden Læst (instrumenteret af Johannes Andersen),

Several of Nielsen’s songs were performed with or-“Sænk kun dit Hoved, du Blomst” og “Der er et yndigt

chestral accompaniment in his lifetime, namely In

Land” (instrumenteret af Carl Nielsen selv); det er

Seraglio Garden, Study on Nature, Apple Blossom (orches-således kun de to sidstnævnte, der bringes i nærvæ-trated by Poul Schierbeck), Tonight, Genre Painting,rende udgave som nr. 290-291.

267“Sænk kun dit Hoved, du Blomst” stammer“Silken shoe over golden last” (orchestrated by Johannes Andersen), “Lay down, sweet ﬂower, your head”

fra 1903 og blev komponeret i forbindelse med Carland “A fair and lovely land” (orchestrated by Nielsen

Nielsens og Johannes Jørgensens samarbejde om-himself); hence only the two last-named are included

kring korværket Søvnen; i 1907 udkom den for sang270

in the present edition, as Nos. 290-291.

og klaver i Stroﬁske Sange (nr. 23). Det er så vidt vides“Lay down, sweet ﬂower, your head” dates

den eneste kunstsang, som Carl Nielsen selv instru-

from 1903 and was composed in connection withmenterede for lille orkester (to fagotter, to violiner,

Nielsen’s collaboration with Johannes Jørgensen onbratsch og cello); den indgik siden i sangerinden

the cantata Sleep; in 1907 it was published for voice

Sylvia Schierbecks faste repertoire og ﬁk navnlig iand piano in the collection Strophic Songs (No. 23). So

1920erne en række opførelser både i herhjemme og i

far as is known, this is the only art-song that Nielsen

Norge og Sverige.
Vedrørende “Der er et yndigt Land”, se nr. 262.

himself scored, for chamber orchestra (two bassoons,violin 1 and 2, viola and cello); it was later included in
Sylvia Schierbeck’s core repertoire, and in the 1920s it

266 Titelblad til nr. 288: Musik til Sct. Hansaftens Spil af
Carl Nielsen; titelblad til nr. 289: I Maaneskin titter.
267 Samtlige disse sange med undtagelse af “Der er
et yndigt Land” blev spillet ved en svensk radiokoncert den 7. december 1928, sunget af Sylvia
Schierbeck og dirigeret af Carl Nielsen (ifølge
brev i Statens Musikbibliotek Stockholm fra Carl
Nielsen til Julius Rabe af 8.11.1928). Til listen kan
føjes “Du danske Mand!” i et arrangement, dertilsyneladende er gået tabt.

received a number of performances both at home andin Norway and Sweden.
Concerning “A fair and lovely land”, see No. 262.

269 The title page for No. 288 reads: Musik til Sct.
Hansaftens Spil af Carl Nielsen; that for No. 289
reads: I Maaneskin titter.
270 All these songs, with the exception of “A fair andlovely land” were played at a Swedish Radio concert on 7 December 1928, sung by Sylvia Schierbeck and conducted by Nielsen (according to a letter from Nielsen to Julius Rabe of 8.11.1928, in theState Music Library, Stockholm). To this list may be
added “Sing, Danish man! With all your might”,
in an arrangement that is apparently lost.

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“Den Spillemand spiller paa Strenge” (nr. 292)
udkom oprindeligt for to lige stemmer i Melodier til
Sangbogen ‘Danmark’ i 1924 (nr. 375) og to år senere forsang og klaver i Ti danske Smaasange (nr. 186). I 1931

“The ﬁddler is playing his ﬁddle” (No. 292)
was originally published in 1924 for two equal voices

udarbejdede Carl Nielsen en version for sangstemme

in Melodies for the Songbook ‘Denmark’ (No. 375) and two

og tre violiner i forbindelse med et pædagogisk frem-

years later for voice and piano in Ten Little Danish Songsstød, der bl.a. resulterede i publikationen Løse Blade(No. 186). In 1931 Nielsen made a version for voice andtil Sang og Spil udgivet af Foreningen for unge Musik-

three violins in connection with a pedagogic initiative

amatører, redigeret af C.M. Savery.

that resulted, amongst other things, in the publica-

sigte fremgår af følgende passus fra titelbladet: “Dissetion Løse Blade til Sang og Spil, published by the Society
271

268

Samlingens

Blade er til dem, som vil synge og spille sammen ude

for Young Amateur Musicians, edited by C.M. Savery.

i Skoven eller i Stuen, og vil glæde sig over den rene

The aim of the collection is stated in the following

primitive Musik.”passage from the title page: “These song sheets aremeant for those who will sing and play together, inthe woods or indoors, and who want to enjoy pure

III. KOR A CAPPELLA (nr. 293-400)

and primitive music.”

I det følgende behandles korsatserne efter besætning:
blandet kor (nr. 293-314), mandskor (nr. 315-332), lige
stemmer (nr. 333-400).

III. A CAPPELLA CHOIR (Nos. 293-400)
In the following section choral pieces are dealt with

A. Blandet kor (nr. 293-314)

according to setting, as follows: mixed choir (Nos. 293-

Gruppen af sange for blandet kor omfatter:314), male-voice choir (Nos. 315-332), equal voices (Nos.
Sange fra skuespil og kantater

333-400).

To sange fra ‘Kantate ved Aarhus Landsudstillings Aab-

A. Mixed Choir (Nos. 293-314)

nings-Højtidelighed 1909’ (nr. 293-294)

The group of songs for mixed choir comprises:“Ja, tag os, vor Moder” fra Willemoes (nr. 304)
Fædrelandssang fra Sommerrejsen (nr. 300)
“Som en rejselysten Flaade” fra Moderen (nr. 306)

Songs from plays and cantatas
Two songs from Cantata for the Opening Ceremony of theBestillingsværker

National Exhibition in Aarhus 1909 (Nos. 293-294)

To Skolesange (nr. 295-296)“Yea, take us, our mother” from Willemoes (No. 304)

Sidskensang (nr. 301)

Danish Patriotic Song from Sommerrejsen (No. 300)

Serenade (“Gerne vi lytter”) (nr. 302)

“There’s a ﬂeet of ﬂoating islands” from The Mother“Kom, Gudsengel, stille Død (nr. 303)

(No. 306)
Commissioned works

268 Carl Maria Savery, dansk musikpædagog, komponist og pianist, stifter af folkemusikhøjskoleri Horsens (1929), Århus (1930) og Frederiksberg(1931); jf. Oddvin Mathisen, Bogen om Poul Schierbeck, København 1988, s. 442. Samlingen udkom
på Skandinavisk og Borups Musikforlag i 1931.

Two School Songs (Nos. 295-296)
Siskin Song (No. 301)
Serenade (“Gladly we listen”) (No. 302)
“Come, God’s angel, silent Death” (No. 303)

271 Carl Maria Savery, Danish music teacher, composer and pianist, founder of Folk Music HighSchools in Horsens (1929), Århus (1930) and Frederiksberg (1931). Cf. Oddvin Mathisen, Bogen om
Poul Schierbeck, Copenhagen 1988, p. 442. The collection was published by Skandinavisk og Borups
Musikforlag in 1931.

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“Vi Børn, vi Børn, vi vaagner” (nr. 305)
Sjølunds Sangere (nr. 311)
“Vaaren – Vaaren er i Brudd! (nr. 313)
“Af Flamme blev du avlet” (nr. 314)

“We boys and girls we waken” (No. 305)

Korversioner af enkeltsange

Zealand Singers (No. 311)
“Springtime, springtime breaking through” (No.

“Der er et yndigt Land” (nr. 307, 308)

313)

Hjemvee (nr. 309)

“From ﬂame your life was given” (No. 314)

“Jeg bærer med Smil min Byrde” (nr. 310)
“Udrundne er de gamle Dage” (nr. 312)

Choral versions of separate songs“A fair and lovely land” (Nos. 307, 308)

Tre Motetter (nr. 297-299)

Homesickness (No. 309)
“I take with a smile my burden” (No. 310)

De to korsatser fra anden del af Kantate ved Aarhus“Gone are the days, they’re past and olden” (No. 312)

Landsudstillings Aabnings-Højtidelighed 1909, opført i maj
269

1909,

Three Motets (Nos. 297-299)

blev i 1913 udgivet for blandet kor i samlin-

gen Danske Korsange. 32 nye Sange for Sopran, Alt, Tenor
The two choral movements from Part Two of the Can-og Bas. Samlet og udgivet af Bestyrelsen for ‘Danske Læreres

tata for the Opening Ceremony of the National Exhibition in

Sangkor’ ved L. J. Hansen. Den ene af satserne, “Skum-

272

Aarhus 1909, performed in May 1909,

were publishedmende laa Havet” (nr. 293), måtte forsynes med enin 1913 for mixed choir in the collection Danske Kor-

ny tekst af Olaf Hansen, fordi den oprindelige tekst

sange. 32 nye Sange for Sopran, Alt, Tenor og Bas. Samlet og

af L.C. Nielsen fra kantaten (“Spejdende mod Solen”)

udgivet af Bestyrelsen for ‘Danske Læreres Sangkor’ ved L. J.

i for høj grad fokuserede på Aarhus by. Satsen, der iHansen. One of the pieces, “Foaming high, the waters

kantaten er for mandskor og lille orkester, blev om-

rushed heavily ashore” (No. 293), had to be provided

skrevet til blandet kor. Den anden sats (“Danmark, duwith a new text by Olaf Hansen, because the original

kornblonde Datter”, nr. 294) kunne overføres direkte

text by L.C. Nielsen from the cantata (“Spejdende modtil korhæftet, idet den allerede i kantaten var for blan-

Solen”) focused too much on the town of Aarhus. The

det kor med en kort strygerindledning.
Initiativtageren bag korhæftet, formanden formovement, scored in the cantata for male-voice choirand chamber orchestra, was transcribed for mixed

Danske Læreres Sangkor L.J. Hansen, pressede stærkt

choir. The second piece (“Denmark, ye corn-golden

på for at få Carl Nielsen til at bidrage til hæftet med

daughter”, No. 294) was taken directly into the volume

de to korsatser. I brev af 19. maj 1913 skriver han bl.a.

of choruses, since in the cantata it was already written

til Carl Nielsen:

for mixed choir with a short introduction for strings.
The initiator behind the choral volume, chair-“Vi vil meget gerne have Deres to Sange med, da deman of the Danish Teachers’ Choirs, L.J. Hansen,

vil blive en Pryd for Hæftet, og for Sagens Skyld kan

pressed strongly to get Nielsen to contribute the twovi heller ikke undvære Deres Navn. Jeg anmoder Dem

choral movements to the volume. In a letter to Niel-derfor om i Henhold til de to trykte Skrivelser, vi

sen of 19 May 1913 he wrote:
269 Se CNU III/2.

“We would very much like to include your two songs,
since they would signiﬁcantly enhance the quality ofthe volume, and for the sake of the enterprise we really cannot do without your name. I therefore ask you,

272 See CNU III/2.

Carl Nielsen Udgaven CN 00051

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har sendt Dem, og i Henhold til Deres ærede Løfte atstøtte os med at tilsende mig Manuskripterne til ovennævnte to Sange.
Tre Gange har jeg uden Resultat forsøgt at

in accordance with the two printed letters we havesent you, and in respect of your honoured promise, to

faa Hr. L.C. Nielsen til at skrive en anden Tekst til

support us by sending me the manuscripts to the two‘Spejdende mod Solen’. Imidlertid har Digteren Hr.

above-mentioned songs.

Adjunkt Olaf Hansen, som har faaet et dramatisk Ar-

I have tried three times without result to get
Mr. L.C. Nielsen to write another text for ‘Spejdende

bejde antaget af d. kgl. Teater, lovet at gøre det, hvis
De tillader det. Han er dygtig. –Hæftet er færdigt til at gaa i Trykken, naar vi

mod Solen’. However, poet and teacher Mr. Olaf

har Deres to Sange i Hænde.”

Hansen, who has had a dramatic work accepted at
The Royal Theatre, has promised to do it, if you willOgså privattrykket fra Birkerød Statsskole, To Skole-allow. He is competent. –The volume will be ready to go to press whensange (nr. 295-296), skyldtes en henvendelse udefra
med pædagogisk sigte, denne gang fra musiklærer for

we have received your two songs.”

Birkerød Statsskole, Knud Malmstrøm, der i første omThe private publication by Birkerød State School, Twogang bad Carl Nielsen skrive musik til Viggo Stucken-

School Songs (Nos. 295-296), was also the result of an ap-

bergs digt “Blomsterstøv fra Blomsterbæger” (nr. 295)

proach from outside with pedagogic aims, this time

til afsyngelse ved skolens translokation.

from the music master of Birkerød State School, Knudhar åbenbart behaget Malmstrøm i en sådan grad, at

Malmstrøm, who in the ﬁrst place asked Nielsen to set

han kort efter anmodede Carl Nielsen om endnu en

Viggo Stuckenberg’s poem “Flower pollen from profu-

sang, denne gang til Stuckenbergs tekst “Nu er for

270

Resultatetsion” (No. 295) to be sung at the school’s speech day.

273

stakket Tid forbi” (nr. 296); begge digte var oprindeligt

The result pleased the master so much that he shortly

udkommet i Stuckenbergs digtsamling Sne i 1901. For

afterwards requested another song from Nielsen, thisdenne anden sang tilbød han Carl Nielsen 100 kr.,

time to Stuckenberg’s text “It’s over for a short respite”

idet han dog ledsagede tilbuddet af nogle tanker om(No. 296); both poems were originally published inbeløbets ringe størrelse i forhold til betydningen for

Stuckenberg’s collection of poems, Sne, in 1901. For

skolen af Carl Nielsens arbejde:

this second song the master offered Nielsen 100 kroner, although he accompanied the offer with some“(I mine Øjne er en saadan Sang af Dem nemlig 10

thoughts on the paucity of the amount compared toGange mere værd, – ja, i en vis Forstand overhovedet

the signiﬁcance for the school of Nielsen’s work:ubetalelig i gangbar Mønt!)“(In my eyes a song of yours like this is actually worth– at nøjes med dette ringe Vederlag, vilde jeg natur-

Hvis De kunde tænke Dem – for Sagens Skyldten times the amount – in some ways it’s actually beyond price!)

270 Brev af 2.5.1929 fra Knud Malmstrøm til Carl
Nielsen (CNA, I.A.b.16). Ifølge et notat på en lap
papir fra perioden 1940-1960 i DK-Kk, CNU skulle
Carl Nielsens blækmanuskript til de to sange beﬁnde sig på Birkerød Statsskole; en henvendelse
til skolen i 2005 desangående og en efterfølgende
søgning i skolens arkiver har ikke givet noget positivt resultat.

If you could somehow – for the sake of thecause – be content with this slight compensation, I

273 Letter of 2.5.1929 from Knud Malmstrøm to Nielsen (CNA, I.A.b.16). According to a note on a scrapof paper from the period 1940-1960, in DK-Kk,
CNU, Nielsen’s ink manuscript of the two songs
was kept at Birkerød State School; however, anapproach to the school in 2005 and subsequent
searches in the school archives have not yielded apositive result.

Carl Nielsen Udgaven CN 00051

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ligvis være henrykt for at kunne have 2 Sange af Demsom fast Tradition ved Afslutningen hver Sommerferie, hvor jo bl. a. et nyt Hold Studenter drager ud ishould naturally be delighted to establish the two

Verden. Der er en formildende Tanke ved min Hen-songs by you as a ﬁrm tradition at the end of term be-vendelse: Deres Toner vil altid lyde herude – ogsaa

fore every summer holiday, when of course amongst

engang, naar vi ikke mere har den Lykke og Glæde atother things a new cohort of students sets forth intotælle Dem selv iblandt os; det synes jeg, der er noget

the world. There is a compensating thought in my re-smukt og gribende i, det vil sikkert ogsaa sætte Deres

quest: your music will always sound here – even wheneget Tanke- og Følelsesliv i Svingning.”271

we no longer have the happy good fortune to countyou among us; I think there is something beautifulOgså den anden henvendelse blev imødekommet,

and inspiring in that, which should surely also set

og Malmstrøm kunne den 16. maj takke ham for274

your thoughts and feelings in motion.”korsangen. Han anmodede ved samme lejlighed om
hans medvirken ved skoleafslutningen som diri272

This request was also granted, and on 16 May Malm-gent, men det blev afvist fra komponistens side.

strøm was able to thank the composer for the choral

Uropførelsen af de to nye sange fandt sted på skolensong. At the same time he requested Nielsen’s partici-

den 27. juni 1929, og nogen tid efter forelå de i det

pation as conductor at the end-of-term event, but thisnævnte privattryk.

the composer turned down.

275

The ﬁrst performanceof the two new songs took place at the school on 27

Tre Motetter (nr. 297-299)

June 1929, and some time later they appeared in the

De tre motetter fra 1929 indtager en særstilling

above-mentioned private publication.

blandt Carl Nielsens værker for blandet kor, både i
kraft af sproget (latin) og i kraft af deres på én gangThree Motets (Nos. 297-299)

arkaiserende og moderne polyfone satsstruktur. Mo-

The Three Motets of 1929 occupy a special position intetterne er tilegnet Palestrinakoret og dets leder Mo-

Nielsen’s works for mixed choir, thanks both to thegens Wöldike, som også førsteopførte værket, ligesom

language (Latin) and to their simultaneously quasi-ar-

sidstnævnte var dybt involveret i hele dets tilblivelse.

chaic and modern polyphonic construction. The motets

Palestrinakoret var oprettet i 1922 med hen-are dedicated to the Palestrina Choir and their director

blik på opførelse af Palestrinas Missa Papae Marcelli,Mogens Wöldike, who also premiered the work, while

som i en årrække blev en tilbagevendende begiven-

the last-named was also deeply involved in its creation.

hed i Christiansborg Slotskirke, og udenlands havde

The Palestrina Choir was founded in 1922

koret netop manifesteret sig ved en førsteplads i enwith a view to a performance of Palestrina’s Missa Pa-

international korkonkurrence i 1928 i Milano – enpae Marcelli, which for a number of years was a recur-

begivenhed, som blev udførligt omtalt i den danske

rent event at the Christiansborg Slotskirke, and inpresse. Korets repertoire med den særlige vægt på1928 the choir had come to international prominence

vokalpolyfonien fra før 1650 var en inspirationskilde

by winning ﬁrst prize at the international choral com-

for Carl Nielsen i hans arbejde med de tre motetter, etpetition in Milan – an event that was discussed extensively in the Danish press. The choir’s repertoire, with

271 Brev af 7.5.1929 fra Knud Malmstrøm til Carl Nielsen (CNA, I.A.b.16).
272 Brev af 16.5.1929.

its special emphasis on pre-1650 vocal polyphony, wasa source of inspiration for Nielsen in his work on thethree motets, which lasted from the beginning of

274 Letter of 7.5.1929 from Knud Malmstrøm to Nielsen (CNA, I.A.b.16).
275 Letter of 16.5.1929.

Carl Nielsen Udgaven CN 00051

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arbejde, der strakte sig fra begyndelsen af april 1929
til renskriften forelå midt i august samme år.
Det blev et arbejde, som Nielsen satte stor pris
April 1929 until the fair copy was ready in the middle

på, både det færdige resultat og undervejs i processen.

of August that year.

Udvælgelsen af bibeltekster foregik i tæt samarbejdeThis was a work that Nielsen set great store by,both in terms of the ﬁnished product and in the pro-

med hustruen, således som det fremgår af den omfattende brevveksling mellem ægtefællerne:cess of composition. The choice of the biblical texts
was the result of close collaboration with his wife, as“Du har vel ikke fundet en Klagesang i Biblen. Maaske

may be seen from their extensive correspondence:

jeg alligevel bliver nødt til at tage af Salmerne; jeg
har været bange for den store, herlige Kirkemusik,“I guess you haven’t found a lament in the Bible. So

men jeg [har] vel Lov at synge saa godt jeg kan og paa

perhaps I shall have to use the Psalms after all; I havemin Maade.

been fearful of the great splendid church music, but I

Jeg er ret ﬂittig og studerer de gamle ikke ale-surely have permission to sing as well as I can and in

ne ved Klaveret, men jeg skriver af og saa tvinges man

my own way.

til Grundighed.”273

I have been quite busy studying the old masters, not only at the piano but also by copying out,
276

Med den afsluttende sætning sigter Carl Nielsen til destilstudier, han foretog ved at skrive de gamle mestres

which forces you to be thorough.”musik af. Tre afskrifter i Carl Nielsens hånd er netop
Nielsen’s concluding remarks concern the stylis-

bevaret blandt skitserne til motetterne, nemlig Cle-tic studies he made by writing out music by the oldmens non Papa, Vox in Rama, Orlando di Lasso, Super

masters. Three such copies in Nielsen’s hand are pre-ﬂumina Babylonis og Luca Marenzio, Et respicientes vide-

served among his sketches for the motets, namely Cle-runt, alle fra anden halvdel af 1500-tallet.

Selve kompositionsarbejdet gik dog i gangmens non Papa’s Vox in Rama, Orlando di Lasso’s Super
ﬂumina Babylonis and Luca Marenzio’s Et respicientes
277

viderunt, all from the second half of the 1500s.

The compositional work got under way before
the choice of texts was completely resolved; rather

274

inden tekstgrundlaget var endelig afklaret; snarere
komponerede Carl Nielsen ud fra en grundstemningi de bibelske tekster, således som han har noteret det
på bagsiden af et brev:

Nielsen composed on the basis of fundamental moodsin the Biblical texts, as he noted down on the back of“I Jeg raaber til Dig om Natten”,

a letter:“II Du giver mig Fred”,“III Tak!”275“I I call to You in the Night”,
Også i valg af besætning forsøger han at differentiere“II You give me Peace”,
278

i forhold til denne grundstemning, idet nr. 1 er kom-

“III Thanks!”

poneret for alt, tenor 1, tenor 2 og bas, nr. 2 for soIn his choice of vocal layout Nielsen also aimed for va-

pran, alt, tenor og bas, mens nr. 3 er femstemmig forriety, in that No. 1 is set for alto, tenor 1, tenor 2 andsopran 1, sopran 2, alt, tenor og bas.

bass, No. 2 for soprano, alto, tenor and bass, and No. 3
is for ﬁve-part choir: soprano 1, soprano 2, alto, tenor

273 Brev af 15.5.1929.
274 CNS 404, 407 og 408 (MS 33 2253).
275 Brev fra Hans Lützhöft til Carl Nielsen af
23.4.1929 (CNA, I.A.b.15).

and bass.

276 Letter of 15.5.1929.
277 CNS 404, 407 and 408 (MS 33 2253).
278 Letter from Hans Lützhöft to Nielsen of 23.4.1929(CNA, I.A.b.15).

Carl Nielsen Udgaven CN 00051

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Arbejdet med renæssancemestrenes værker
havde vist Carl Nielsen, at deres motetter kun bestod
af ganske få sætninger, hvis ord og stavelser fordeles
His engagement with the work of the renais-

over hele kompositionen. Et sted henviser han selv tilsance masters had shown Nielsen that their motets

en lignende fremgangsmåde i sit store kor (“Herren er

consisted of only a few lines of text, whose words andVidne! Pagten er sluttet paany”) i tredje akt af Saul ogsyllables were disposed over the entire composition.

David skrevet mere end 25 år tidligere.

276

Lidt mere præcist udtrykker han det i et brev

In one place he himself points to a similar procedurein his large chorus (“Herren er Vidne! Pagten er slut-

fra 22. maj 1929 til hustruen:

tet paany”) in Act Three of Saul and David written
279“Jeg arbejder allerede paa mit nye Værk (uden Tekst

more than 25 years earlier.

He put it rather more precisely in a letter tosom altid sagtens kan ﬁndes og lægges under paa
Latin). Det drejer sig kun om ganske faa Ord til hvert

his wife of 22 May 1929:

Stykke, da det jo er Grundstemningen det kommer“I am already working on my new work (without

an paa: 1) Sorg og Klage, 2) Fred og Velbehagelighed 3)

text, which can always easily be found and under-

Tak og Jubel (Hymne).”laid in Latin). It is just a question of a few words foreach piece, because it’s the fundamental mood thatI månederne maj og juni arbejdede han intenst med

counts: 1) Anxiety and Lament, 2) Peace and Well-be-

motetterne og holdt hustruen løbende orienteret om

ing 3) Thanks and Jubilation (Hymn)”.

sin glæde ved arbejdet, således som det fremgår af
yderligere to breve:In the months of May and June he worked intensively
on the motets and kept his wife up to date on his joy“Jeg har igaar fuldendt den anden Sats af mine tre Kor-in the work, as two further letters show:

stykker. Teksten er endnu ikke lagt under. Stykket er et
af mine allerbedste Arbejder og det varer circa 5 Mi-“Yesterday I completed the second of my three cho-nutter ialt 47 Takter eller rettere 94, da Takterne i det-

ral pieces. The text isn’t yet underlaid. This is one ofte Stykke har dobbelt Længde (senere en Forklaring).

my best works, and it lasts about ﬁve minutes, some

Jeg er meget stolt af dette Arbejde som ligger helt for

47 bars in all, or rather 94, since the bars are all dou-

sig, men med de gamle Mestre bestandig for Øje.”277

ble length (I’ll explain later). I am very proud of thiswork, which stands entirely on its own two feet, yetwith the old masters constantly in mind.”280“Tak fordi Du skriver og interesserer Dig for mit Arbejde; jeg gør mig vældig Umage og er saa optaget af det
at hver Tone er en Sag, altsaa: Det er ikke Stemning,“Thank you for writing and being interested in my

Temperament eller Følelse (i almindelig Forstand) det

work; I’m taking huge trouble and am so absorbed inher kommer an paa, men noget der ligger ud over det

it that every note is an issue. You see, it’s not a ques-personlige. Min symfonisk[e] Evne og Flugt i de store

tion here of atmosphere, temperament or feeling (inInstrumentalformer (Sonater, Symfonier o.s.v.) er der

the usual sense), but of something higher than any-

ikke den ringeste Brug for her og jeg maa ligefrem

thing personal. My symphonic gifts and my drive inundertrykke mange Evner i ﬂere Retninger for at

the great instrumental forms (sonatas, symphonies

komme op i et højere Luftlag og nærme mig de gamle

and so on) are absolutely useless here, and I actually
have to suppress my inclinations in many directions in

276 Se brev til hustruen af 27.5.1929.
277 Brev af 27.5.1929.

order to penetrate to a higher atmospheric layer and279 See letter to his wife of 27.5.1929.
280 Letter of 27.5.1929.

Carl Nielsen Udgaven CN 00051

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Mestre som svæver der, rene, og store, som Ærkeengle
ved Himlens Rand. Jeg efterligner dem egentlig ikke,
men jeg efterlever dem.”

278

approach the old masters who soar there, pure andgreat like archangels on the edge of heaven. I don’t ac281

tually resemble them, but I live by their rules.”De endelige slutdatoer for de tre stykker fremgår af
Carl Nielsens dagbog fra 1929: 26. maj (nr. 2, “Dominus regit me”), 15. juni (nr. 1, “Afﬂictus sum”) og 28.

The end-dates of the three pieces are entered injuni (nr. 3, “Benedictus dominus”). Efter at have ren-Nielsen’s diary of 1929: 26 May (No. 2, “Dominus re-skrevet motetterne overlod Carl Nielsen renskriftengit me”), 15 June (No. 1, “Afﬂictus sum”) and 28 Junetil Palestrinakorets dirigent Mogens Wöldike. Denne(No. 3, “Benedictus dominus”). Having made fair copies

foretog herefter en afskrift af manuskriptet,of the motets, Nielsen delivered them to the Palestrina

til eget brug ved indstuderingen, dels – formentlig

Choir’s conductor Mogens Wöldike. The latter then– som forlæg for den trykte udgave, der udkom hos

282

made a copy of the manuscript,

partly to be used for

279

dels

Skandinavisk Musikforlag i 1931; endvidere blev der280

Da bådehis rehearsals with the choir, partly – presumably – forudarbejdet korstemmer til opførelsesbrug.

the Skandinavisk Musikforlag printed edition, which

Wöldikes afskrift og de nævnte korstemmer er gåetappeared in 1931; choral parts were also made for use

tabt, lader det sig ikke afgøre, om korstemmerne blev

283

Since both Wöldike’s copy

udarbejdet på baggrund af Nielsens renskrift eller

and those choral parts were subsequently lost, it can-af Wöldikes afskrift. Kun kan det fastslås, at der er

not be determined whether the parts were made fromforskelle på førstetrykket og blækrenskriften. På bag-Nielsen’s fair copy or from Wöldike’s. It can only begrund af den nære kontakt, der gennem hele forløbet

observed that there are differences between the ﬁrst

havde været mellem komponist og dirigent, må det

printing and the ink fair copy. In view of the close con-anses for givet, at Carl Nielsen sanktionerede de æn-tact between composer and conductor throughout thedringer, der er foretaget i førstetrykket i forhold til

whole process, it must be assumed that Nielsen sanc-blækrenskriften; disse ændringer, der bl.a. vedrører

tioned the changes carried out in the ﬁrst printing

tekstanbringelse og indførelse af særlige artikulati-

compared to the ink fair copy; these changes, which af-

ons-cæsurer, er således gengivet i nærværende udgave

fect amongst other things the text underlay and the ad-på trods af, at specielt cæsurerne ikke kendes fra

dition of special caesura marks, are accordingly repro-

andre af Carl Nielsens korværker og kan forekomme

duced in the present edition, despite the fact that suchganske stilfremmede. Som følge af ovenstående kil-markings do not appear in Nielsen’s other choral works

desituation, hvor som nævnt Wöldikes afskrift og

and may appear quite foreign to the style. As a result

stemmerne fra uropførelsen er gået tabt, kan detof this situation with the sources, in which, as men-således ikke godtgøres, om førsteopførelsen fulgte

at the ﬁrst performance.

tioned, Wöldike’s copy and the parts from the premiere
have gone missing, it cannot be determined whether

278 Brev af 28.6.1929. Også i brev til Carl Johan
Michaelsen af 15.8.1929 udtrykker Carl Nielsen sin
tilfredshed med arbejdet: “[...] jeg haaber at havefundet noget af det Metal som til enhver Tid kanlægges paa Vægtskaalen uden at tabe i Værdi”.
279 Jf. Brev fra Wöldike til Carl Nielsen af 28.8.1929(CNA, I.A.b.22).
280 Det omtalte stemmemateriale er anført i Fog og
Schousboe (1965), s. 47 som “Privatlitograﬁ. Palestrinakoret. Pariserformat”. Det har ikke været
muligt at opspore disse stemmer, hverken i Det
Kongelige Bibliotek, Danmarks Radio eller i arkiverne i Holmens Kirke og Københavns Domkirke,
hvor Mogens Wöldike virkede.

the premiere followed Nielsen’s fair copy (without the

281 Letter of 28.6.1929. In a letter to Carl Johan Michaelsen of 15.8.1929 Nielsen also expressed his satisfaction with the work: “[...] I hope to have found something of the metal that can be put on the scales atany point in history without losing its value”.
282 Cf. letter from Wöldike to Nielsen of 28.8.1929(CNA, I.A.b.22).
283 The parts in question are listed in Fog & Schousboe (1965), p. 47 as “Private lithograph. Palestrina
Choir. Paris format”. It has not been possible todiscover these parts, either in The Royal Libraryor in the archives in Holmen Church or Copenhagen Cathedral, where Mogens Wöldike worked.

Carl Nielsen Udgaven CN 00051

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Carl Nielsens renskrift (uden de nævnte cæsurer) eller Wöldikes afskrift, der formodes at være gengiveti førstetrykket (og dermed er valgt som hovedkilde icaesurae) or Wöldike’s, which must be assumed to benærværende udgave). Til sammenligning er hele Carl

reproduced in the ﬁrst printing (and is therefore cho-Nielsens renskrift gengivet som faksimile (s. 163-172).

sen as the main source for the present edition). For the

Motetterne blev førsteopført den 11. april 1930

purposes of comparison, Nielsen’s entire fair copy ofi Ny Carlsberg Glyptotekets festsal, og både koret og

the motets is reproduced as a facsimile (pp. 163-172).

anmelderne var glade for satserne. Palestrinakoret

The motets were premiered on 11 April 1930

havde “Benedictus” på sit repertoire de kommende år281

og

in the Festival Hall of the New Carlsberg Glyptotek

og opførte den ved koncerter i ind- og udland,Museum, and both singers and reviewers liked theved Carl Nielsens bisættelse i Domkirken den 9. okto-

work. The Palestrina Choir had the “Benedictus” in its

ber 1931 sang koret den anden af motetterne, “Domi-

repertoire during the following years and performed

nus regit me”.

284

it in concert, both at home and abroad,

Efter førsteopførelsen skrev Hugo Seligmann

and at Niel-sen’s funeral service in the Cathedral on 9 Octoberi Politiken:

1931 the Choir sang the second of the motets, “Domi“Carl Nielsen har nogle Gange tidligere være[t] inde

nus regit me”.
After the premiere Hugo Seligmann wrote inpaa denne renlivede Polyfoni. Smukkest i sit prægtige Ungdomsværk ‘Hymnus amoris’ og i ‘Saul og

Politiken:

David’. Men aldrig har han som her gjort sig den un“Carl Nielsen has several times previously engaged

derdanig. Disse tre Motetter, hvis Tekster er hentet

with this strict polyphony – most beautifully in his

fra Davids Salmer, er utvivlsomt den mægtigste voka-

splendid youthful work ‘Hymnus amoris’ and in ‘Saul

le Polyfoni, der er skrevet i Danmark. Hver for sig er

and David’. But never before has he made himself

de af en organisk Enhed og af en tematisk Koncentra-

subservient to it as he does here. These three motets,tion, som ikke kan være større. Og skønt de er af en

whose texts are taken from the Psalms of David, aremodulatorisk Dristighed, der navnlig for den første

undoubtedly the mightiest vocal polyphony that has

Motets Vedkommende bereder næsten uoverstigelige

been written in Denmark. Each one is an organic

Vanskeligheder, føles de dog intet Øjeblik villede,whole and of a thematic concentration that cannot be

men ejer det fuldkomne Mesterværks ubønhørlige

surpassed. And although they are audacious in their

Logik – saadan og ikke anderledes! […] Hvilken Vælde

modulations, which makes for almost insuperable

er der ikke i det første Kors Dødskulde med dets Uro

difﬁculties especially in the ﬁrst motet, they never forog kvalfulde Opskrig, hvilken underfuld Dvælen ia moment come across as wilful, but possess the in-det pastorale, strømmer der ikke imod os i det føl-

exorable logic of the perfect masterwork – just so, andgende Kors næsten ubevægede melodiske Linje, og

no other way! […] What power there is in the ﬁrst cho-hvilken sand og sund Lovprisning er der ikke i det

rus’s deathly chill, with its restlessness and painful

sidste Kors rene og ophøjede Jubeltone! Skønt helt

outbursts. What strange lingering in pastoral realms
we encounter in the almost immobile melodic lines

281 Royal College of Music i London den 7.5.1930(“Benedictus”) og Sct. Marienkirche i Lübeck den
30.9.1931 (“Benedictus” og “Dominus regit me”).

of the following chorus. And in the last one what
truthful, healthy acclamation we hear in the pure,elevated tone of jubilation! Although they are each

284 Royal College of Music, London on 7.5.1930(“Benedictus”) and St Mary’s Church in Lübeck on
30.9.1931 (“Benedictus” and “Dominus regit me”).

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uafhængige af hverandre belyser og fuldender dehverandre. Carl Nielsen har skænket dansk Musik et
nyt og mægtigt Værk.”282

completely independent, they illuminate and complement one another. Nielsen has presented Danish mu285

Lignende toner anslås af William Behrend i Berlingske

sic with a new and mighty work.”

Tidende:William Behrend struck a similar note in Berlingske“Atter – som Heinrich Schütz’s – et Arbejde fra sin

Tidende:Skabers fremskredne Aar, men som dèr uden Spor af
283

Alder eller Træthed.

Tværtimod, det er som denne“Once again, as with Heinrich Schütz, we have a work

vor Mester, for hver Gang han tager fat, søger sig etfrom its creator’s advanced years, and here too there

nyt Emne, en ny Genre og som om Styrkeprøven øgeris not a trace of old age or fatigue.

286

On the contrary,hans Skaberlyst og kunstneriske Kræfter. […]Det viste sig i Opbygning, i Stemmeføring etc.,

it is as though our master-composer, every time hesets to work, seeks out a new topic, a new genre, andhvorledes han behersker denne Stil – man kunne sy-

as though the trial of strength increases his joy innes at staa over for en af selve de gamle Mestre. Men

creation and his artistic powers. […]da var det just morsomt og højst værdifuldt gennem

In the construction, in the voice-leading etc., it

de strenge Former og fastholdte Stil, gennem det

was evident to what extent he has mastered this style –haarde Slid (som man vel tør tale om ved et saadant

it was as though we were in the presence of one of theVærk), at mærke Carl Nielsens egen originale og end-

old masters themselves. But right then it was amusing

nu lige friske Personlighed, at skimte de alvorsfulde

and very valuable to observe – through the strict forms

og de yndefulde Linjer, som nu er velkendte i hansand maintained style, through the hard grind (as one

Musikerfysiognomi.”

284

may dare say about such a work) – Nielsen’s own original personality, still every bit as fresh, to glimpse the

Tre Motetter blev som nævnt ovenfor udgivet i 1931.

lines that are now well known in his musical physiog-

Udgaven fra Skandinavisk Musikforlag bragte som287

nomy, full of seriousness and grace.”indledning teksten på latin såvel som en dansk og en
tysk oversættelse (i efterfølgende skema er yderligere

As mentioned above, the Three Motets were publishedtilføjet den engelske bibeloversættelse fra King Jamesin 1931 by Skandinavisk Musikforlag. The score gave

Version).

a Danish as well as German translation of the Latin
text, and below is added the English text from the282 Politiken, 12.4.1930.
283 De tre Nielsen-motetter blev opført som tredjeog sidste del af koncerten efter anden dels tre
motetter af Heinrich Schütz: Die mit Thränen säen,
So fahr ich hin samt Selig sind die Toten og en første
afdeling, som bestod af Jacob Obrecht, Ave regina
coelorum, Antoine de Févin, Descende in Hortum
meum og Josquin Desprez, Ave Maria.
284 Berlingske Tidende, 12.4.1930.

King James Version (Psalms 38:8, 23:1-2 and 31:21):

285 Politiken, 12.4.1930.
286 The three Nielsen motets were performed as thethird and last part of the concert, after three
motets by Schütz in the second part: Die mit
Thränen säen, So fahr ich hin and Selig sind die Toten,
and a ﬁrst part consisting of Jacob Obrecht, Ave
regina coelorum, Antoine de Févin, Descende in Hortum meum and Josquin Desprez, Ave Maria.
287 Berlingske Tidende, 12.4.1930.

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I
Afﬂictus sum, et humiliatus
sum nimis: rugiebam a gemitu
cordis mei.
Ps. XXXVII,9II
Dominus regit me, in loco
pasquae ibi me collocavit.
Super aquam refectionis
educavit me.
Ps. XXII, 1-2

III
Benedictus Dominus, quoniam
miriﬁcavit misericordiamsuam mihi.
Ps. XXX,22

I
Jeg er blevet dødkold
og saare sønderknust
jeg hyler af mit
Hjertes Uro.
Ps. 38,9II
Herren er min Hyrde,(mig skal intet fattes)
Han lader mig ligge
i skønne Græsgange;
han leder mig de stillerindende Vande.
Ps. 23,1-2

IIILovet være Herren!
thi han har underligt
bevist sin Miskundhed
imod mig.
Ps. 31,22

I
Es ist mit mir gar anders,und bin sehr zerstoßen:
ich heule vor Unruhe
meines Herzens.

II
Der Herr ist mein Hirt
mir wird nichts mangeln.
Er weidet mich auf einer
grünen Auen, und führet michzum frischen Wasser.

III
Gelobet sei der Herr, daß er
hat eine wunderliche Güte
mir beweiset.

I
I am feeble and sore broken: I
have roared by reason of thedisquietness of my heart.

II
The LORD is my shepherd; I shallnot want. He maketh me to lie downin green pastures: he leadeth me
beside the still waters.

III
Blessed be the LORD: for hehath shewed me his marvellous
kindness.

Apart from a few inaccuracies, the Danish translation

Den danske oversættelse er med ganske få unøjagtig-

quotes the authorised version, which was in use inheder direkte citeret fra den autoriserede bibelover-

1929.

288

In the Latin text from the Vulgata Nielsen forsættelse i 1929.

285

I den latinske tekst fra Vulgata har

unknown reasons left out the signiﬁcant second line

Carl Nielsen uvist af hvilken grund helt udeladt denof the second motet “et nihil mihi deerit” (“I shall not

betydningsladede anden linje i den anden motet “etwant”), which is therefore set in brackets in the Dan-nihil mihi deerit” (“mig skal intet fattes”), som derfor

ish translation).

er sat i parentes i den danske oversættelse.

288 Bibelen. Den hellige skrifts kanoniske Bøger, Copenhagen 1929 in motet I, line 3 has “jeg hyler ud afmit”; in motet II, lines 5-6 “han leder mig til destille rindende Vande”; in motet III, line 4 “imodmig i en fast Stad” (“in civitate munita”), the line
thus being omitted from both the Latin, the German and the Danish quotation of the Psalm.

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285 Bibelen. Den hellige skrifts kanoniske Bøger, København 1929; autorisationen af oversættelsen fandt
for Det gamle Testamentes vedkommende sted i
1871 og blev gengivet uændret i følgende udgaver
frem til 1931, hvor en ny autorisation fandt sted.
Oversættelsen fra 1929 har i motet I, linje 3 “jeghyler ud af mit”; i motet II, linje 5-6 “han ledermig til de stille rindende Vande”; i motet III, linje
4 “imod mig i en fast Stad” (“in civitate munita”),
hvor linjen således mangler i såvel den latinske
som den danske og tyske gengivelse af salmen.

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Nr. 300 Fædrelandssang (“Du danske Mand!”) udkom
som nævnt ovenfor i en række forskellige versioner,
herunder en udsættelse for blandet kor, efter at sanNo. 300. As described above, Danish Patriotic Songgen med ét slag havde fået stor succes i sommerens(“Sing, Danish man! With all your might”) was pub-

Tivoli-vaudeville Sommerrejsen i 1906 (se hovedomtale

lished in a number of different versions, including

under nr. 224 samt nr. 167, 320, 339 og 391).

an arrangement for mixed choir, after the song had
proved an overnight success in the summer Tivoli-Nr. 301 Sidskensang med tekst af Emil Aarestrup blev

vaudeville Sommerrejsen in 1906 (see main discussion

skrevet i december 1906

under No. 224, and also Nos. 167, 320, 339 and 391).

rik Rung til Cæciliaforeningens Madrigalkor og blev286

på foranledning af Frede-uropført ved en koncert i foreningen den 7. april 1907.
No. 301 Siskin Song, with text by Emil Aarestrup, was289

Her er tale om et korværk af mere ambitiøst tilsnit,

at the request of Fred-og værket blev opført af koret ikke færre end ti gangeerik Rung for the St Caecilia Society’s Madrigal Choiri perioden 1907-1908, hvortil kom yderligere en opfø-

and was premiered at the society’s concert on 7 April

relse med Det Kongelige Teaters kor. Sangen forblev

1907. This is a choral work of a rather ambitious stamp,

utrykt i komponistens levetid. Carl Nielsens autografe

and it was performed by the choir no fewer than ten

manuskript er forsynet med tilføjet tysk tekst i frem-times in 1907-1908, not to mention a performance by

med hånd; oversættelsen er foretaget af C. Rocholl.

composed in December 1906

The Royal Theatre Choir. The song remained unpublished in the composer’s lifetime. Nielsen’s autographNr. 302 Serenade (“Gerne vi lytter, naar Strængene

manuscript contains a German text added in a foreign

bringer”) var skrevet af digteren Hother Ploug som en

hand; the translation was made by C. Rocholl.

hyldest til Peter Heises enke, Vilhelmine Heise, i anledning af hendes fødselsdag 8. februar 1907. Dagen

No. 302 Serenade (“Gladly we listen when music may

efter komponerede Carl Nielsen en korsats over tek-

carry”), was written by poet Hother Ploug as a tributesten, som efterfølgende blev fremført i et selskab hos

to Peter Heise’s widow, Vilhelmine Heise, on the occa-

fru Heise to dage senere.

287

sion of her birthday on 8 February 1907. The day after,
Nielsen made a choral setting of the text, which was

Nr. 303 “Kom, Gudsengel, stille Død” er komponeret i

performed at a gathering in Mrs Heise’s house two

efteråret 1907.

290

288

Ligesom Sidskensang (nr. 301) er den

komponeret til Cæcilieforeningens Madrigalkor og

days later.

opført ved en kompositionskoncert den 30. november
No. 303 “Come, God’s angel, silent Death” was com291

posed in the autumn of 1907.

Like Siskin Song1907, hvor også nr. 301 stod på programmet. Ogsådenne sang er til tekst af Emil Aarestrup.

(No. 301) it was composed for the St. Caecilia Society’s
Madrigal Choir and was performed at a concert ofNr. 304 “Ja, tag os, vor Moder” fra L.C. Nielsens skue-

Nielsen’s works on 30 November 1907, where No. 301

spil Willemoes, komponeret i årene 1907-1908, forelig-

was also on the programme. This song also has a text
by Emil Aarestrup.

286 Iﬂg. dagbogsnotat af 11.12.1906.
287 Jf. Fellow (2007), s. 133. Schousboe (1983-1984), s.
19-20 anfører, at første del er skrevet i Heises og
Lange-Müllers stil som en hyldest til modtageren,mens sidste del er i Carl Nielsens egen stil.
288 Jf. brev til Ove Rode af 26.11.1907.

No. 304 “Yea, take us, our mother”, from L.C. Nielsen’s play Willemoes, composed in 1907-1908, survives

289 According to a diary entry of 11.12.1906.
290 Fellow (2007), p. 133. Schousboe (1983-1984), pp. 1920 states that the ﬁrst part is written in the styleof Heise and Lange-Müller, in honour of the recipient, while the last part is in Nielsen’s own style.
291 Cf. letter to Ove Rode of 26.11.1907.

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ger i manuskript i en version for blandet kor.

289

På

manuskriptet har Carl Nielsen tilføjet “Hr Siboni
Brogade 22”, hvilket kunne tyde på, at musikhandler
in manuscript in a version for mixed choir.

292

On theSiboni har været inddraget, ligesom det var tilfældet

manuscript Nielsen added “Hr Siboni Brogade 22”,

omkring “Der er et yndigt Land” en snes år senere (sewhich may indicate that the music dealer Siboni wasovenfor nr. 262).

involved, as was the case with “A fair and lovely land”

unisont mandskor med orkesterledsagelse. Anlednin-

two decades later (see above, No. 262).

293

In the play,290

I skuespillet optræder sangen forgen til korversionen kendes ikke, ligesom der heller

the song appears for unison men’s choir with orches-

ikke er vidnesbyrd om nogen opførelse. Sangen blev

tral accompaniment. The reason for the choral ver-også trykt i en version for sang og klaver i et hæfte

sion is not known, and there is no evidence of a per-med de fem sange fra Willemoes (nr. 28).

formance. The song was also printed in a version forvoice and piano in a volume containing the ﬁve songs

Nr. 305 “Vi Børn, vi Børn, vi vaagner” til en tekst af Jo-

from Willemoes (No. 28).

hannes Jørgensen blev lanceret på Børnehjælpsdagenden 16. maj 1911 i tre forskellige trykte versioner for

No. 305 “We boys and girls we waken”, to a text byhenholdsvis klaver med underlagt tekst, mandskor

Johannes Jørgensen, was launched on Child Welfare

og tostemmigt børnekor (nr. 230, 325 og 388). Hertil

Day on 16 May 1911 in three different printed versions

kommer denne udsættelse for blandet kor, der kun– for piano with underlaid text, male-voice choir, andforeligger i manuskript. Det vides ikke, om denne

two-part children’s choir (Nos. 230, 325 and 388). In

version har været opført (se endvidere omtale ovenfor

addition there is this setting for mixed choir, which

under nr. 230).

is only found in manuscript. It is not known whether
this version was performed (see also the discussion

Nr. 306 Sangen til Danmark fra Helge Rodes skuespil

above, under No. 230).

Moderen291

udkom som ﬁrstemmig korsats hos Wil-

helm Hansens Musikforlag i 1921 kort tid efter, at
No. 306 “There’s a ﬂeet of ﬂoating islands” from Helge
294

Rode’s play The Motherwas published as a four-partden var blevet trykt i en version for sang og klaver i ethæfte med uddrag fra skuespillet (nr. 117-124). I skue-

choral setting by Wilhelm Hansens Musikforlag inspillet forekommer den som slutsang for blandet kor

1921, shortly after it had been printed in a version

og orkester. Året efter blev den udgivet i Folkehøjskolens

for voice and piano in a volume of excerpts from the

Melodibog (nr. 177) og i 1924 for tre lige stemmer i Melo-play (Nos. 117-124). In the play it appears as a conclud-

dier til Sangbogen ‘Danmark’ (nr. 342).

ing song for mixed choir and orchestra. The following year it was published in The Folk High School Melody

Nr. 307-308 “Der er et yndigt Land” blev trykt hos Wil-

Book (No. 177), and in 1924 it appeared for three equal

helm Hansens Musikforlag i to versioner for kor a cap-parts in Melodies for the Songbook ‘Denmark’ (No. 342).

pella, en for fem stemmer (SATTB) og en for ﬁre stem-

Nos. 307-308 “A fair and lovely land” was printed by

289 MS 33 4024. For en nærmere redegørelse om tilblivelsen af Willemoes, se CNU I/6.
290 Som det tidligere er nævnt, var netop sangene fra
Willemoes meget populære, hvilket kan være baggrunden for, at Carl Nielsen udarbejdede denne
korversion.
291 Se omtalen af uddrag fra Moderen (nr. 117-124)
s. 38-40.

Wilhelm Hansens Musikforlag in two versions for acappella choir, one for ﬁve voices (SATTB) and one for292 MS 33 4024. The music for Willemoes is publishedin CNU I/6.
293 As already mentioned, the songs from Willemoes
were very popular, which may be why Nielsen
made this choral version.
294 See discussion of extracts from The Mother(Nos. 117-124), pp. 38-40.

Carl Nielsen Udgaven CN 00051

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mer (SATB) i forlængelse af den kraftige markedsføring af den ny melodi i foråret 1924. Se nærmere om
melodiens tilblivelse og udbredelse ovenfor (nr. 262).
four (SATB) in continuation of the energetic marketing of the new song in the spring of 1924. For further

Nr. 309-310 Hjemvee (“Underlige Aftenlufte!”) og “Jegdetails of the composition and reception of the song,bærer med Smil min Byrde” er ﬁrstemmige arrange-

see above (No. 262).

menter fra 1924 af sangene, der blev udgivet første
gang for sang og klaver i En Snes danske Viser 1915 (nr.

Nos. 309-310 Homesickness (“Odd and unknown evening

90 og 97) og siden i Folkehøjskolens Melodibog (nr. 163 og

breezes!”) and “I take with a smile my burden” are166); Hjemvee blev desuden udgivet for tre lige stem-

four-part arrangements from 1924 of songs that weremer i Melodier til Sangbogen ‘Danmark’ (nr. 345). Korver-

ﬁrst published for voice and piano in A Score of Danish

sionerne udkom dels som enkelttryk i Wilhelm Han-

Songs 1915 (Nos. 90 and 97) and then in The Folk Highsens Kor-Bibliothek, dels i et par andre af forlagets

School Melody Book (Nos. 163 and 166). Homesickness was

korudgivelser samme år.

furthermore published for three equal voices in Melodies for the Songbook ‘Denmark’ (No. 345). The choral ver-Nr. 311 Sjølunds Sangere (“Paa Sjølunds fagre, sommer-

sions appeared partly as separate publications in Wil-skønne Ø”) fra 1924 med tekst af Karl Elnegaard

helm Hansen’s Choral Library, partly in a couple of the

blev bestilt af dirigent C. Kofod til en af landets store

company’s other choral publications the same year.

korforeninger, Sjællandske Folkekor, som uropførte

292

kompositionen ved et korstævne i Næstved den 22.
No. 311 Zealand Singers (“On Zealand’s fair and lovely
295

summer isle”) of 1924, with text by Karl Elnegaard,

juni 1924. Satsen udkom ifølge Carl Nielsens udsagn
293

på “eget Forlag”.

was commissioned by conductor C. Kofod for one of thecountry’s large choral societies, the Zealand Folk Choir,

Nr. 312 Carl Nielsens melodi til “Udrundne er de gam-which premiered the composition at a choral rally inle Dage” blev oprindeligt komponeret i 1917 i forlæn-Næstved on 22 June 1924. The piece was published, ac-gelse af en debat i Højskolebladet (se nr. 116 ovenfor).

296

cording to Nielsen, under “my own imprint”.

Udgivelsen for blandet kor blev udarbejdet efter Wilhelm Hansens Musikforlags ønske, idet forlaget i ok-

No. 312 Nielsen’s melody for “Gone are the days,

tober 1925 anmodede Carl Nielsen om en korversion

they’re past and olden” was originally composed inmod et honorar på 125 kr.

1917 in continuation of a debate in Højskolebladet (seesang og klaver i Nordens Musik fra 1919 er der i denne

No. 116 above). The version for mixed choir was madenye korudgave afvigelser i næsten hver takt, selv om

294

I forhold til udgaven forat the wish of Wilhelm Hansens Musikforlag, as thecompany in October 1925 requested a choral version
297

for a fee of 125 kroner.

292 Lærer ved Sorø Højskole og redaktør på Sorø Folketidende.
293 Brev fra Carl Nielsen til dirigent for Danske Folkekor (1921-1935) Jeppe Marius Ottosen, 23.5.1924(privat eje, kopi i CNU; brevet indeholder en længere omtale af denne korsats).
294 Brev fra Wilhelm Hansen til Carl Nielsen af
13.10.1925 (Wilhelm Hansens Arkiv, brevpakke
1925) og brev fra Carl Nielsen til forlaget af
16.10.1925. Wilhelm Hansens stikkerbog anfører
datoen 24.10.1925-26.10.1925.

By comparison with the 1919

publication for voice and piano in Nordens Musik the
new choral version shows divergences in almost every

295 Teacher at Sorø High School and editor of SorøFolketidende.
296 Letter from Nielsen to the conductor of the Danish Folk Choirs (1921-1935) Jeppe Marius Ottosen,
23.5.1924 (private collection, copy in CNU; the letter contains a lengthy discussion of this chorus).
297 Letter from Wilhelm Hansen to Nielsen of
13.10.1925 (Wilhelm Hansens Arkiv, brevpakke
1925) and letter from Nielsen to the publishersof 16.10.1925. The dates given in the company’s
engravers’ book are 24.10.1925-26.10.1925.

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Carl Nielsen i en note i Nordens Musik havde anført, atsangen kunne opføres for blandet kor en tone højere
end klaverversionen, altså i C dur. I Wilhelm Hansens
bar, even though Nielsen had stated in a note in Nor-udgave er korversionen i Des dur.

295

Det lader til, at der i samtiden har eksisteretdens Musik that the song could be performed by mixed
choir a whole tone higher than the piano version,

endnu en version for blandet kor, idet Det Kongeligethat is in C major. In Wilhelm Hansen’s publication

Teaters kor allerede den 6. marts 1918 i Odd Fellow

the choral version is in D ﬂat major.

298

It seems that at the time there was still an-Palæets Store Sal opførte sangen; det vides dog ikke,
hvilket materiale, der har ligget til grund for denne

other version for mixed choir, since The Royal Theatre

opførelse. Satsen blev senere genoptrykt i Sjællandske

Choir performed the song as early as on 6 March 1918

Folkekors Jubilæumshefte, 1928, ligeledes på Wilhelm

in the Great Hall of the Odd Fellow Palæ; however, it

Hansens Musikforlag og sandsynligvis efter de samme

is not known which materials were used for this per-trykplader.

formance. The piece was later reprinted in Sjællandske
Folkekors Jubilæumshefte, 1928, also by Wilhelm Hansens

Nr. 313 “Vaaren – Vaaren er i Brudd!” er et bestillings-

Musikforlag and probably from the same plates.

arbejde fra lektor ved Aarhus Katedralskole Regnar
Knudsen i anledning af skolens 400 års fest i 1926 forNo. 313 “Springtime, springtime breaking through”

Morten Børup, der skrev den originale latinske tekst

was a commission from the teacher at the Aarhus“In vernalis temporis”. Teksten, der anvendtes ved

Cathedral School, Regnar Knudsen, on the occasion

denne lejlighed, var Marinus Børups oversættelse,of the school’s celebration of the 400th anniversary ofsom første gang blev trykt i digtsamlingen Gækkeliljer

Morten Børup in 1926, who wrote the original Latin

fra 1920.

text, “In vernalis temporis”. The text used on this oc-

fest den 30. maj 1926, og satsen blev trykt i Aarhusia-

casion was Marinus Børup’s translation, which was

nerbladet Arosia i 1928.

ﬁrst printed in the collection of poems, Gækkeliljer, of

blev en enstemmig udgave af sangen trykt i Nye Melo-

1920.

299

The piece was performed at the school’s sum300

In the same year as theSatsen blev uropført ved skolens sommer297

Samme år som uropførelsen

dier til Johan Borups Dansk Sangbog (nr. 402).
Som det fremgår af skemaet under nr. 387

mer fair on 30 May 1926, and it was printed in Aarhusianerbladet Arosia in 1928.

296

har Carl Nielsen skrevet to forskellige melodier tilﬁrst performance a single-line version of the song was

to forskellige oversættelser af Morten Børups Carmen

printed in New Melodies for Johan Borup’s Danish Song-vernalis (“In vernalis temporis”), den ene med den dan-book (No. 402).

ske tekst “Frydeligt med jubelkor” (oversat af Frederik

As will be shown (see table under No. 387, be-Moth), den anden med teksten “Vaaren, Vaaren er ilow) Nielsen wrote two different melodies to two dif-Brud” (oversat af Marinus Børup). Den første af disse

ferent translations of Morten Børup’s Carmen vernalis

melodier – til teksten “Frydeligt med jubelkor” – er i(“In vernalis temporis”), one with the Danish text “Jubilation, shouts of glee” (translated by Frederik Moth),

295 Kladde i Carl Nielsens hånd (MS 33 2232); endvidere renskrift (MS 33 2231), som afviger fra den
trykte udgave og kladden, og som overvejende
følger udgaven for sang og klaver fra Højskolebladet fra 1917. Renskriften er gengivet i faksimile(se s. 173), og afvigelserne er dokumenteret i Editorial Emendations and Alternative Readings.
296 Bestillingen fremgår af brev af 16.5.1926 fra Carl
Nielsen til Regnar Knudsen.
297 Arosia, 7/6 (1928), s. 86. Teksten alene havde forinden været trykt i Arosia, 5/ 2 (1926), s. 21.

the other with the text “Springtime, springtime
breaking through” (translated by Marinus Børup). The

298 Draft in Nielsen’s hand (MS 33 2232). Also a faircopy (MS 33 2231), which deviates from the printed
edition and the draft, and which mainly follows
the edition for voice and piano from Højskolebladetof 1917. The fair copy is reproduced in facsimile(see p. 173), and the differences are documented in
Editorial Emendations and Alternative Readings.
299 The commission is mentioned in a letter of
16.5.1926 from Nielsen to Regnar Knudsen.
300 Arosia, 7/6 (1928), p. 86. The text alone had previously been printed in Arosia, 5/2 (1926), p. 21.

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nærværende udgave gengivet som nr. 207, 347, 387 og
422 (sidstnævnte dog med teksten “Vaaren, Vaaren er
i Brud!”), mens den anden melodi til teksten “Vaaren,former is found in the present edition as Nos. 207,

Vaaren er i Brud” er gengivet som nr. 313 og 402.

347, 387 and 422 (the last of these, however, with thetext of “Springtime, springtime breaking through”),

Nr. 314 “Af Flamme blev du avlet” er et bestillingsar-

while the latter is published as Nos. 313 and 402.

bejde fra Dansk Ligbrændingsforening i anledning af
foreningens 50-års jubilæum i 1931. Korsangen til en

No. 314 “From ﬂame your life was given” was a com-tekst af Sophus Michaëlis blev uropført den 23. marts

mission from the Danish Cremation Society, on the1931 i Statsradiofonien.

occasion of their 50th anniversary celebrations in
1931. The choral song to a text by Sophus Michaëlis

B. Mandskor (nr. 315-332)

was premiered on 23 March 1931 on State Radio.

I modsætning til, hvad der er tilfældet med Carl Nielsens satser for blandet kor, er den overvejende del af

B. Male choir (Nos. 315-332)

mandskor-satserne originalkompositioner og kun en

By contrast with Nielsen’s pieces for mixed choir, themindre del arrangementer af tidligere eksisterende

majority of the male-voice choir pieces are original

sange. Originalkompositionerne omfatter 11 satser:

compositions, only a minority being arrangements ofpreviously existing songs. There are 11 original com-

Fire satser fra elevtiden hos Orla Rosenhoff(nr. 315-318)

positions:

Tre satser til mandskoret Bel Canto(nr. 321, 322 og 332)

Four from Nielsen’s study years with Orla Rosenhoff

Tre satser til Studenter-Sangforeningen(Nos. 315-318)(nr. 324, 327 og 328)

Three for the male-voice choir Bel Canto

En sats til Mandskoret AFK (nr. 331)

(Nos. 321, 322 and 332)
Three for the Students’ Choral Society

Arrangementer af eksisterende sange omfatter syv(Nos. 324, 327 and 328)
One for the AFK Male-voice Choir (No. 331)

satser (nr. 319, 320, 323, 325, 326, 329 og 330).

Arrangements of previous songs comprise seven piec-

Nr. 315-318 De ﬁre tidlige sange for mandskor stam-es (Nos. 319, 320, 323, 325, 326, 329 and 330).

mer fra Carl Nielsens studietid og er muligvis blevet
til på foranledning af komponistens teorilærer Orla

Nos. 315-318 The four early songs for male-voice choir

Rosenhoff. En af sangene (nr. 317) er dateret 4. de-date from Nielsen’s student years and may have been

cember 1887 og skrevet på samme papir som nr. 316.

written at the suggestion of his theory teacher, Orla

To af teksterne “Byd mig at leve” (nr. 315) og Længsel

Rosenhoff. One of the songs (No. 317) is dated 4 De-(nr. 316) er skrevet af henholdsvis Robert Herrick og

cember 1887 and is written on the same paper as No.

Robert Burns (oversat til dansk af Caralis, se s. 74-75),

316. Two of the texts – “Bid me to live” (No. 315) andI Love My Jean (No. 316) – are by Robert Herrick andRobert Burns, respectively (translated by Caralis, see
pp. 74-75). The other two (“You suffer throughout an
age of pain” and To Asali, Nos. 317 and 318) are by Jens

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mens de to øvrige tekster (“Det bødes der for” og Til
Asali, nr. 317 og 318) er af J.P. Jacobsen og begge senere
ﬁk en ny melodi, udsat for sang og klaver.

298

Der er ikke vidnesbyrd om, at disse ﬁrePeter Jacobsen, and Nielsen later composed a new301

mandskorsange blev opført i Carl Nielsens levetid.

melody for each of them, for voice and piano.

There is no evidence that these four malevoice choruses were performed in Nielsen’s lifetime.

Nr. 319 “Kom blankeste Sol!” blev oprindeligt skrevet
i 1901 for tre lige stemmer til Kolding Almenskole (seNo. 319 “Come, glistering sun!” was originally written

nedenfor, nr. 385). I 1906 udkom den for mandskor iin 1901 for three equal voices for Kolding Secondary

samlingen 25 ﬁrstemmige Sange for Mandsstemmer udgiv-

School (see below, No. 385). In 1906 it was published

ne af Poul Hellmuth på Wilhelm Hansens Musikforlag.

for male-voice choir in the collection 25 ﬁrstemmige
Sange for Mandsstemmer udgivne af Poul Hellmuth by Wil-Nr. 320 Fædrelandssang udkom hos Wilhelm Hansen ihelm Hansens Musikforlag.

sommeren 1906 for mandskor sideløbende med udgaver af andre versioner af sangen, der var blevet kendt

No. 320 Patriotic Song was published by Wilhelm Han-

fra sommerens opførelse i Tivoli af vaudevillen Som-sen in summer 1906 for male-voice choir, at the same

merrejsen (se nr. 224).

time as editions of other versions of the song, which
had become known from the summer performance in

Nr. 321 Aftenstemning (“Alt Skoven sig fordunkler”)

Tivoli of the vaudeville Sommerrejsen (see No. 224).

blev komponeret i 1908 til herrekoret Bel Canto og
dets leder, valdhornisten Vilhelm Poulsen.

299

TekstenNo. 321 Evening (“The woods are dimly listening”), waser Carsten Hauchs oversættelse fra 1842 af Matthias

composed in 1908 for the male-voice choir Bel Canto

Claudius’ digt “Der Mond ist aufgegangen”, som også302

and its conductor, French-hornist Vilhelm Poulsen.

kendes i Hauchs oprindelige version som “Sig månen

The text is Carsten Hauch’s 1842 translation of Mat-langsomt hæver”. Sangen blev uropført af koret den

thias Claudius’ poem “Der Mond ist aufgegangen”,

19. oktober 1908 i Odd Fellow Palæets Mindre Sal,

which is also known in Hauch’s original version as

og den indgik efterfølgende i korets faste repertoire.

“Sig månen langsomt hæver”. The song was ﬁrst per-Partitur og stemmer blev samme år udgivet på Wil-

formed by the choir on 19 October 1908 in the Lesser

helm Hansens Musikforlag. Efter alt at dømme indgik

303

Hall of the Odd Fellow Palæ,and it subsequently

300

den mange år senere som et af Carl Nielsens bidrag tilentered the choir’s standard repertoire. The score anden kantate af Valdemar Rørdam til indvielsen af radi-parts were published in the same year by Wilhelm

umstationen i København – her til teksten “I Lænker

Hansens Musikforlag. It seems that the chorus was

maa vi leve”.

301

included many years later as one of Nielsen’s contributions to a cantata with words by Valdemar Rørdam

298 Nr. 9 og 3, trykt i hæfterne med sange af J.P. Jacobsen, opus 6 og opus 4.
299 Jf. Schousboe (1983-1984), s. 21.
300 Program i Småtrykssamlingen.
301 Valdemar Rørdams kantate til radiumstationens
indvielse 4.3.1931 med musik af Weyse, Heise,
Gade og Carl Nielsen (se CNU III/2, s. ix).

for the inauguration of the radium station in Copen304

hagen – here to the text “I Lænker maa vi leve”.

301 Nos. 9 and 3, printed in the volumes of songs towords of J.P. Jacobsen, Op. 6 and Op. 4.
302 Cf. Schousboe (1983-1984), p. 21.
303 Programme in Småtrykssamlingen.
304 Valdemar Rørdam’s cantata for the inaugurationof the radium station, 4.3.1931 with music by Weyse, Heise, Gade and Nielsen (see CNU III/2, p. ix).

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Nr. 322 Også drikkevisen Til Snapsen i ‘Bel Canto’ (“Endskønt jeg ganske sikkert ved”) er, som det fremgår aftitlen, bestilt af herrekoret Bel Canto. Digtet er skreNo. 322 As the title suggests, the drinking song To thevet af Aage Berntsen. Carl Nielsens manuskript er da-

Schnapps in ‘Bel Canto’ (“Although I’m more convinced

teret 16. september 1909.

than not”) was also commissioned by the men’s choir,
Bel Canto. The poem was written by Aage Berntsen.

Nr. 323 De unges Sang (“Vi ﬁk ej under Tidernes Tryk”)

Nielsen’s autograph score is dated 16 September 1909.

var oprindeligt komponeret som enstemmig sangtil Gymnastikhuset på Vodroffsvej i februar 1909 (seNo. 323 Song of the Young was originally composed as anr. 227). Senere på året udarbejdede Carl Nielsen en

single-line song for the gymnastics hall in Vodroffsvej

version for mandskor, som i denne skikkelse blev før-in February 1909 (see No. 227). Later that year Nielsen

steopført af Bel Canto den 20. november 1909 i Odd

made a version for male-voice choir, which was ﬁrst

Fellow Palæet.

302

performed in this guise by Bel Canto on 20 November
305

Nr. 324 Paaske-Liljen (“Paaskeblomst! En Draabe

1909 in the Odd Fellow Palæ.

stærk”), der også foreligger i manuskript for sang og
No. 324 The Daffodil (“Easter bloom! A potent drink”),

klaver (nr. 229), blev oprindelig skrevet for mandskor

which also survives in a manuscript for voice and pi-

i 1910 til Studenter-Sangforeningen, som uropførteano (No. 229), was originally written for male-voiceden 2. maj dette år.

choir in 1910 for the Students’ Choral Society, which

helm Hansens Korbibliotek for mandskor og indgik

306

303

Samme år blev den trykt i Wil-

The same year

siden i Folkehøjskolens Melodibog (nr. 146). I eftertiden

it was printed in Wilhelm Hansens Korbibliotek forhar melodien markeret sig som en af Carl Nielsens

male-voice choir, and it was included in The Folk Highmest kendte salmemelodier, anvendt til teksten “Pa-

School Melody Book (No. 146). In later years the tune

askeblomst, hvad vil du her”. Mandskorsatsen blev

would become one of Nielsen’s best-known psalm-også sunget ved festspillet Grundtvig-Paaske-Aften på

melodies, used for the text “Paaskeblomst, hvad vil

Det Kongelige Teater i 1931, hvortil Carl Nielsen havde

du her”. The male-voice choir version was also sungkomponeret musikken.

premiered it on 2 May of that year.

304

at the gala performance Grundtvig Easter Evening at
the Royal Theatre in 1931, for which Nielsen had com307

Nr. 325 “Vi Børn, vi Børn, vi vaagner” blev skrevet til

posed the music.

Børnehjælpsdagen i 1911 (se nr. 230).

No. 325 “We boys and girls we waken” was written for

Nr. 326 “Fredlys din Jord, Du danske Mand!” blev påChild Welfare Day in 1911 (see No. 230).

digteren Anders W. Holms anmodning komponereti august 1914 og kort efter trykt i en udgave for sang

No. 326 “Preserve your soil” was composed at the re-og klaver på Wilhelm Hansens Musikforlag. Efterføl-

quest of the poet Anders W. Holm in August 1914 andshortly afterwards printed in an edition for voice and

302 Program i Småtrykssamlingen.
303 Program i Musik- og Teaterafdelingen, Torben
Schousboes samling,
304 Se CNU I/9 s. lxi. Efter alt at dømme blev densamme år ligeledes anvendt i Valdemar Rørdams
kantate til radiumstationens indvielse.

piano by Wilhelm Hansens Musikforlag. Subsequently
Nielsen arranged it for male-voice choir, and in this305 Programme in Småtrykssamlingen.
306 Programme in Musik- og Teaterafdelingen,
Torben Schousboes samling.
307 See CNU I/9 p. lxi. So far as we can tell, it was also
used the same year in Valdemar Rørdam’s cantata for the inauguration of the radium station.

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gende arrangerede Carl Nielsen den for mandskor, og
i denne skikkelse ﬁk den sin førsteopførelse med Studenter-Sangforeningen i december 1914.
guise it was ﬁrst performed by the Students’ Choral
Society in December 1914.

308

305

Se i øvrigtnærmere om sangens tilblivelse ovenfor (nr. 233).

For more detail on the
Nr. 327 “Ak, Julesne fra Bethlehem” med tekst af Jo-

origins of this song, see also No. 233, above.

hannes Jørgensen blev ifølge Carl Nielsens dagbog
No. 327 “Ah, Bethlehem, your Christmas snow”, to a

komponeret 13. december 1914 til Studenter-Sangfor-text by Johannes Jørgensen, was composed according toeningen, som opførte den ved en koncert til fordel for

Nielsen’s diary on 13 December 1914 for the Students’

Berlingske Tidendes julefond fem dage senere. Stykket er

Choral Society, which performed it at a concert for Ber-for mandskor og sopran solo; sidstnævnte blev sunget

lingske Tidende’s Christmas collection ﬁve days later. The

af Emilie Ulrich. Opførelsen af den nye komposition

piece is for male-voice choir and soprano solo; the solo

blev kort omtalt i avisen: “Studentersangerne frem-part was taken by Emilie Ulrich. The performance offørte Carl Nielsens sidste Komposition ‘Ak, Julesne fra

the new composition was brieﬂy discussed in the press:

Bethlehem’ med Fru Ulrich som Solistinde. Det var et“The student singers performed Nielsen’s latest compo-

ﬁnt tænkt lille Korstykke, stærkt modulerende, men

sition, ‘Ah, Bethlehem, your Christmas snow’, with Mrs

stemningsfuldt.”

Ulrich as soloist. This is a ﬁnely conceived little choral

des ikke andre opførelser i komponistens levetid.

306Værket blev ikke trykt, og der ken-309

piece, strongly modulating, but full of atmosphere.”

The work was not printed, and no other performances

Nr. 328 “Hil dig vor Fane!”. Også denne sang er kom-are known in the composer’s lifetime.

poneret til Studenter-Sangforeningen, der opførte den
første gang den 27. april 1915 i Odd Fellow Palæets

No. 328 “Banner, we hail thee!”. This song was also com-

Store Sal med Salomon Levysohn som dirigent; i den

posed for the Students’ Choral Society, which gave thefølgende tid fulgte yderligere et par opførelser. Tek-ﬁrst performance on 27 April 1915 in the Great Hall ofsten er Grundtvigs gendigtning af den latinske hymne

the Odd Fellow Palæ, with Salomon Levysohn conduct-“Salve crux arbor”, som ﬁndes i Sang-Værk til den dan-ing; this was followed by several further performances.

ske Kirke, 1837; teksten blev trods sit religiøse indhold

The text is Grundtvig’s re-writing of the Latin hymn

sat i forbindelse med Verdenskrigen, der netop var“Salve crux arbor”, which is found in Sang-Værk til den

brudt ud.
Også dette værk forblev utrykt.

danske Kirke, 1837; despite its religious content, the text
was understood as having a connection with the FirstWorld War, which had just broken out.

Nr. 329 “Der er et yndigt Land”, se ovenfor, nr. 262.

This piece also remained unpublished.
Nr. 330 “Den danske Sang er en ung, blond Pige” udNo. 329 “A fair and lovely land”, see above, No. 262.

kom første gang i Ti danske Smaasange i 1926 (se ovenfor, nr. 191). Året efter, den 8. december 1927, opførte

No. 330 “The Danish song is a fair young maiden” wasStudenter-Sangforeningen i Studenterforeningens

ﬁrst published in Ten Little Danish Songs in 1926 (seeStore Sal Carl Nielsens arrangement for mandskor.

above, No. 191). A year later, on 8 December 1927, theStudents’ Choral Society performed Nielsen’s arrange-

305 Program i Småtrykssamlingen.
306 Berlingske Tidende, 19.12.1914.

ment for male-voice choir in the Student Society’s
Great Hall.

308 Programme in Småtrykssamlingen.
309 Berlingske Tidende, 19.12.1914.

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Nr. 331 Til min Fødeø. Den 15. oktober 1928 skrev S.P.
307

Raben-Korch

et meget langt brev til Carl Nielsen,

hvori han “som Fynbo til Fynbo” betonede deres fælNo. 331 To My Native Island. On 15 October 1928 S.P.
310

les baggrund, fælles bekendte og fælles opvækst på

wrote a very long letter to Nielsen, inFyn. Han fremførte sit længe nærede ønske om at få

which “as one native of Funen to another” he stressed

Carl Nielsen fra “Sangens Kongebo paa Jorden!” [altså

their common background, acquaintances and up-Fyn] til at sætte musik til et af sine digte.

bringing on Funen. He expressed his long-cherishedvet fulgte et manuskript med titlen Til Fyn!, et digt

wish to get Nielsen – from the “Palace of Song on

på otte vers. Komponisten lod sig overtale, og den 26.

Earth” [i.e. Funen] – to set one of his poems to mu-

november noterede han i sin dagbog, at han havde

Raben-Korch

311

sic.

With the letter he sent a manuscript with thetitle Til Fyn!, a poem in eight verses. The composer al-308

Med bre-komponeret sangen; renskriften er dateret 27. november 1929.

lowed himself to be persuaded, and on 26 November

En præcis dato for uropførelsen kendes ikke,

he noted in his diary that he had composed the song;men satsen blev opført den 15. januar 1930 med her-

the fair copy is dated 27 November 1929.

rekoret AFK,No precise date is known for the premiere,but the song was performed on 15 January 1930 by
312

the AFK Male-Voice Choir,309

dirigeret af Vilhelm Rosenberg i Axel-

borg i forbindelse med en radioudsendelse med titlen“Danske Landskaber i Musik og Digtning.”Værket forblev utrykt.

directed by Vilhelm

Rosenberg, in a broadcast from Axelborg with the title “Danish Landscapes in Music and Poetry”.
The work remained unpublished.

Nr. 332 Kvadet om Nordens Harpe. I dagene 29.-31. maj
1931 fejrede herrekoret Bel Canto sit 25 års jubilæum
med et stort skandinavisk mandskorstævne med del-No. 332 Lay of the Nordic Harp. Between 29 and 31 May

tagelse af kor fra Finland, Island, Norge og Sverige; fra

1931 the men’s choir Bel Canto celebrated its silver ju-

Danmark deltog, foruden Bel Canto, også Studenter-bilee with a large Scandinavian male-voice choir rally

Sangforeningen. Til denne lejlighed komponeredein which choirs from Finland, Iceland, Norway andCarl Nielsen sit sidste korværk, Kvadet om Nordens

Sweden participated; from Denmark, apart from Bel

Harpe, til tekst af Aage Berntsen. Teksten er dateret

Canto, the Students’ Choral Society also took part. For

1. april 1931 og Carl Nielsens renskrift slutdateret tothis occasion Nielsen composed his last choral work,

dage senere “Kjøbenhavn 3.4.1931”.
Kvadet om Nordens Harpe blev sunget af de del-Lay of the Nordic Harp, to a text by Aage Berntsen. The
text is dated 1 April 1931, and Nielsen’s fair copy istagende kor i forening som afslutning på stævnets

end-dated two days later, “Copenhagen 3.4.1931”.

indledningskoncert den 29. maj i Odd Fellow Palæets

Lay of the Nordic Harp was sung by all the par-Store Sal under ledelse af Bel Canto’s dirigent Anders

ticipating choirs together, at the conclusion to the

Rachlew. Succesen blev gentaget to dage senere på

rally’s introductory concert on 29 May in the Great

Københavns Rådhus, hvor alle korene atter var slået

Hall of the Odd Fellow Palæ, directed by Bel Canto’s

sammen til et, og Nielsen, som selv var til stede ved

conductor Anders Rachlew. The success was repeatedbegge begivenheder, blev hyldet af såvel korsangere

two days later at Copenhagen’s Town Hall, where all
the choirs were once again united, and Nielsen, who

307 S.P. Raben-Korch, dansk skolelærer og digter.
308 CNA, I.A.b.,18.
309 Jf. radioprogrammer i Berlingske Tidende og Politiken, 15.1.1930: “Paa Programmet staar Kompositioner, der i Ord og Toner hylder de ﬁre Landsdele.”

was present at both events, was acclaimed by singers

310 S.P. Raben-Korch, Danish schoolteacher and poet.
311 CNA, I.A.b.,18.
312 Cf. radio listings in Berlingske Tidende and Politiken,
15.1.1930: “On the programme are compositions
which in words and music praise the four partsof the country.”

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som publikum.

310

Ifølge radioprogrammet i Berlingske

Tidende blev de enkelte kors indslag i den første koncert i Odd Fellow Palæet transmitteret af Statsradio313

According to the radio listings infonien til norske, svenske og ﬁnske radiostationer og

Berlingske Tidende, the individual choirs’ contributions

hele koncerten fra Rådhuset “over norske Radiofoni-in the ﬁrst concert in the Odd Fellow Palæ were trans-

stationer.”and public alike.

Alle anmelderne var enige om, at Carl Niel-mitted by the State Radio to Norwegian, Swedish andFinnish radio stations, and the entire concert fromsens sang dannede en “pompøs” afslutning på koncer-

the Town Hall “via Norwegian radio stations.”

ten,

311

og “Melodiens faste, knappe og sluttede Formom Ordene var i den stærke Klang-Udfoldelse af stor

All the reviews agreed that Nielsen’s song314

made for a “grandiose” conclusion to the concert,

Virkning.”

312Værket forblev utrykt.

and “the ﬁrm, concise and rounded form around thewords was highly effective given the strong fullness of
315

C. Lige stemmer (nr. 333-400)

The work remained unpublished.

Sangene for lige stemmer omfatter tre hovedgrupper:

sound.”

Carl Nielsens bidrag til Melodier til Sangbogen ‘Danmark’

C. Equal voices (Nos. 333-400)(nr. 333-376), seks kanoner til Finn Høffdings og Ha-

The songs for equal voices fall into three main groups:

kon Andersens samling af kanoner fra 1930 (nr. 377-

Nielsen’s contribution to Melodies for the Songbook ‘Den-382) og en række enkeltsatser (nr. 383-400).

313

mark’ (Nos. 333-376), six canons for Finn Høffding’sand Hakon Andersen’s collection of canons of 1930
(Nos. 377-382) and a number of separate pieces (Nos.
316

a. Samlinger (nr. 333-382)
Melodier til Sangbogen ‘Danmark’ (nr. 333-376)
Med Melodier til Sangbogen ‘Danmark’ kastede Carl383-400).

Nielsen sig over endnu et stort formidlingsprojekt

a. Collections (Nos. 333-382)
Melodies for the Songbook ‘Denmark’ (Nos. 333-376)

indenfor den folkelige sang, denne gang i form af etWith the Melodies for the Songbook ‘Denmark’ Nielsen

henblik på skolernes musikpædagogiske bestræbel-threw himself into another large promotional projectser.

on behalf of the “folkelige” song, this time in the

Jørgensen, der i 1923 havde udgivet skolesangbogen

form of a repertoire of songs laid out for equal voices,

Danmark: Sangbog for Skolen og Hjemmet, gik Carl Niel-with a special view to children’s music education insen i gang med at redigere den tilhørende melodibog;

317

repertoire af sange udsat for lige stemmer med særlig
314

Efter opfordring fra sangbogsredaktøren Albert

Following a request from the songbook’s

den udkom i 1924 under titlen Melodier til Sangbogen

editor, Albert Jørgensen, who in 1923 had published‘Danmark’. Samlet og udgivet til Brug for Skole og Hjem af

the school songbook Denmark: A Songbook for Schools

Carl Nielsen og Hakon Andersen. Som i andre lignende

schools.

and Homes, Nielsen set to work on editing the parallel book of melodies; this appeared in 1924 under the

310 Jf. Politiken, Nationaltidende, 1.6.1931.
311 Nationaltidende, Berlingske Tidende, Kristeligt Dagblad, 30.5.1931.
312 Politiken, 30.5.1931.
313 I Carl Nielsens og Emilie Demants lille notesbog
fra 1880erne over Carls kompositioner ﬁndes
følgende indførsel i Emilies hånd: “Duet for todeDamestemmer med Klaverledsagelse. den 4 Februar 1889” (Hatt (2002), s. 91-92); kompositionen
kendes ikke i dag.
314 Samlingen indeholder dog også enkelte enstemmige sange.

title Melodies for the Songbook ‘Denmark’. Collected andPublished for the Use of Schools and Homes by Carl Nielsen

313 Cf. Politiken, Nationaltidende, 1.6.1931.
314 Nationaltidende, Berlingske Tidende, Kristeligt Dagblad, 30.5.1931.
315 Politiken, 30.5.1931.
316 In Nielsen’s and Emilie Demant’s little notebook
from the 1880s listing Carl’s compositions, we
ﬁnd the following entry in Emilie’s hand: “Duetfor two female voices with piano accompaniment. 4 February 1889” (Hatt (2002), pp. 91-92);
this composition is not known today.
317 The collection also contains single-line songs.

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tilfælde var Carl Nielsens arbejde dels at udvælge melodier indenfor det eksisterende repertoire (bl.a. påbaggrund af en række forslag, som Albert Jørgensen
and Hakon Andersen. As usual, Nielsen’s job was partly

havde sendt ham), dels at supplere med egne melo-

to chose melodies from the existing repertoire (based,dier og endelig – og ikke mindst – at forestå de mange

amongst other things, on a number of suggestionsudsættelser for lige stemmer, alt sammen i tæt sam-that Albert Jørgensen had sent him), partly to sup-arbejde med Hakon Andersen.

plement these with melodies of his own, and last but

Nielsens brev til Lisa Mannheimer i Göteborg, interes-

not least to be in charge of the many arrangements

serede arbejdet ham ikke synderligt i første omgang:

315

Skal man tro Carlfor equal voices, all of this in close collaboration with318

If we may believe Nielsen’s letter“Denne Sag haster da Bogen skal ud til April, men jeg

to Lisa Mannheimer in Gothenburg, the job did not

er nødsaget til at gøre dette Arbejde da det betales ret

interest him especially in the ﬁrst instance:

godt og mine egne Kompositioner kun giver Ære men

Hakon Andersen.

ingen Penge. Egentlig er jeg led og ked af at skulle“The matter is pressing, because the book is supposed

gøre den Slags Arbejde, men jeg vil gøre det saa godt

to appear in April, but I am forced to do it, because it

det staar i min Magt, at det ihvertfald ikke gør mig

pays really well, whereas my own compositions bring

Skam som Musiker.”316

me honour but not money. Actually I am sick andtired of having to do this kind of work, but I shall do

Arbejdet forløb ikke ganske gnidningsløst; for det

it as well as I possibly can, so that at least I won’t be

første var der problemer omkring rettighederne, og

ashamed of it as a musician.”319

for det andet kunne han ikke blive enig med forlaget
Wilhelm Hansen om, hvem der skulle udforme sang-

The work did not proceed entirely smoothly; for one

bogens forside. Komponisten ønskede arbejdet udført

thing there were problems with the rights, and for an-af sin datter Søs, mens forlaget foretrak Joakim Skov-other there was no agreement with Wilhelm Hansen

gaard. På et tidspunkt strammede det så meget til, atabout who should design the front cover. Nielsen

Carl Nielsen truede med at trække sig fra arbejdet,

wanted this to be done by his daughter “Søs”, but themen det endte dog med, at han ﬁk sin vilje, og Søs

ﬁrm preferred Skovgaard. At one point tensions ran sotegnede omslaget i overensstemmelse med forlagets

high that Nielsen considered withdrawing from theønske om et dansk motiv (“noget i Smag med ‘Plov-project, but in the end he got his way, and “Søs” drew

manden’”, som forlaget udtrykte det).

317

the cover-picture in accordance with the publishers’

Efterhånden som arbejdet skred frem, blev

wish for a Danish motif (“something in the style ofCarl Nielsen mere og mere optaget af at arbejde in-

320‘The Ploughman’”, as they put it).

As the project gradually proceeded, Nielsen

315 Organist ved Helligåndskirken i København. Det
er ikke i melodibogen markeret, hvem der harstået for udsættelsen af de enkelte sange. For ennærmere diskussion af, hvordan de to redaktører
fordelte arbejdet mellem sig, og hvilke sange Carl
Nielsen rent faktisk selv har udsat, henvises til
Henning Bro Rasmussen, “Om Sangbogen ‘Danmark’ og Carl Nielsen som skolesangbogsredaktør”, Uddannelseshistorie 1992. 26. Årbog for Dansk
Skolehistorie, s. 45-60; artiklen bygger bl.a. på etstudium af Albert Jørgensens efterladte notaterom melodibogen i MS 33 2152.
316 Brev af 30.12.1923, Göteborgs Universitetsbibliotek.
317 Jf. Fellow (1999), s. 322.

became more and more enthusiastic about working

318 Organist at the Church of the Holy Spirit, Copenhagen. The melody book does not record who was
responsible for the layout of each individual song.
For a more detailed discussion of how the two
editors divided up the work between them, andwhich songs Nielsen deﬁnitely arranged, see Henning Bro Rasmussen, “Om Sangbogen ‘Danmark’og Carl Nielsen som skolesangbogsredaktør”,
Uddannelseshistorie 1992. 26. Årbog for Dansk Skolehistorie, pp. 45-60; the article is based, amongst otherthings, on a study of Albert Jørgensen’s notes
about the melody book in MS 33 2152.
319 Letter of 30.12.1923, Gothenburg University Library.
320 Cf. Fellow (1999), p. 322.

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den for de forholdsvis snævre rammer, som den to- og
trestemmige sats satte, og få måneder før bogen endelig udkom i september 1924, skrev han til William
within the comparatively narrow frame set by the

Behrend:two- and three-voice textures, and a few months before the book was ﬁnally published in September 1924

“Jeg har sat mig for at disse 2 og 3 stemmige Udsæt-he wrote to William Behrend:

telser skal være mønstergyldige for Fremtidens Skolebøger, ihvertfald gør jeg mig den yderste Flid selv med“I have decided that these two- and three-voice arrange-de mest fortærskede Melodier (f: Exmpl den gamle: ‘Iments should be exemplary for future school books;

Skoven skulde være Gilde’ o.s.v.) og jeg kunde ganske

at any rate I myself am taking the greatest pains withsimpelt ellers heller ikke holde det ud, saa det er ikke

the most trite melodies (for example the old ‘I Skoven

noget at rose sig af. Ethvert Arbejde kan nu forresten

skulde være Gilde’ etc.) and I could quite simply not

afvrides Interesse og jo mere man tvinges ind i selv en

bear it otherwise, so there is nothing to be so proud of.

lille Ting jo kærere faa man den; det er vel fordi man

Apart from this, any work can seize your interest andikke kan lade være at give noget af sit eget kære Jeg.”318

the more you go into even a little thing, the more you
become fond of it; that’s probably because you can’t

Carl Nielsen forsynede udgaven med et forord, en

321slags program for fremtidens sang i skolerne, hvor

avoid giving it something of your own inner self.”

han opstillede tre typer af krav til en skolesangbog for
Nielsen provided the publication with a foreword, alige stemmer: udvælgelsen af de rette melodier, udar-

kind of “programme” for singing in schools in thebejdelsen af den mest passende udsættelse af melodi-

future. Here he advanced three criteria for a school

erne og hensynet til børnenes stemmer:

songbook for equal voices: choice of the correct melodies, working out their most suitable arrangement,“Hvad det første Punkt angaar, hersker der almindelig

and consideration for young voices.

Forvirring.

“So far as the ﬁrst point is concerned, there is generalsaa temmelig enige om en Udsættelse, er vi straks

confusion.

på gyngende Grund, naar Talen er om Værdien af en

Medens de ﬂeste Fagmusikere nok kan blive

While most specialists can probably more or

enkel enstemmig Melodi. Det kommer af at vor hele

less agree about an arrangement, we are immediately

Musikopfattelse hviler paa lodrette Harmonier, og at

on shaky ground when it comes to the quality of ader, saa at sige, ingen Steder i Verden faas nogen Ret-

simple single-line melody. The fact is that our entire

ledning eller Undervisning i Frembringelse af enstem-

musical understanding rests on vertical harmonies,

mige Melodier, deres Linieføring, Bygning og alt det,

and one might say that nowhere in the world are

der med et enkelt Udtryk kan betegnes som enstemmig

there any guidelines or training for making single-

Kontrapunkt, hvorved jeg forstaar en Række af Toner,

voice melodies, or for their linear construction, stuc-hvor Spring, Fald og trinvise Gange bestandig modsva-

ture and everything that could simply be called single-

rer og afvejer hinanden i indbyrdes Forhold. […]Hvad Udsættelse angaar bør man holde sig

voice counterpoint, by which I understand a successionof notes whose leaps, cadences and stepwise move-for Øje, at enhver Melodi har ligesom et Stamtræ.

ment are continually complementing and counterbalancing one another in a reciprocal relationship […]318 Brev af 23.5.1924.

So far as arrangement is concerned, one should
keep in mind that any melody has something like a

321 Letter of 23.5.1924.

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Man maa derfor undersøge, inden man begynder paaUdsættelsen, i hvilken Stil Melodien har sin Rod og
saa give den det Klædebon, der tilkommer den; hvertrunk. So you have to consider before you begin to makeken ﬁnere eller grovere. Endelig, for det tredie, er det

an arrangement, in what style the melody is rooted,

nødvendigt ved Udsættelsen at tage Hensyn til selve

and then dress it in the fashion that suits it; neither too

Menneske-Barnestemmen. Der maa navnlig sørges for,ﬁne nor too coarse. Finally, as regards the third point,

at Understemmerne – især den underste – ikke forin making an arrangement you have to take into ac-længe ad Gangen bevæger sig paa de dybe Toner; det

count the nature of children’s voices. That is to say, you

er baade legemligt og sjæleligt plagsomt, og det kan

have to take care that the lower parts – especially theundgaas ved af og til at krydse dem.”319

bottom one – do not stay too long in the lowest register;that is a torment for both body and soul, and it can be
322

avoided by letting the parts cross once in a while.”På forlagets direkte foranledning havde en række
københavnske dagblade fyldige interviews med Carl
Nielsen om den nye udgivelse.

320

Et gennemgående

At the direct invitation of the publishers, a number

tema i disse artikler er forholdet mellem komponi-of Copenhagen newspapers carried full-length inter-stens “store” værker (først og fremmest symfonierne)views with Nielsen about the new publication.

323

A

recurring theme in these articles was the relationshipog den “folkelige” musik. Om sidstnævnte kategori
hedder det i et af interviewene:

between the composer’s “complex” works (above all
the symphonies) and his “folkelige” music. Nielsen ad-“ – Jeg elsker den, sagde Carl Nielsen med et hastigt

dressed the latter in one of the interviews:

Glimt af Begejstring i sine rolige, graa Øjne. – Mine
store Symfonier er en Sag for sig; men den folkelige“ – I love it, said Nielsen with sudden glint of enthu-jævne Sang staar mit Hjerte nærmest, og kan denne

siasm in his calm, grey eyes. – My big symphonies

nye Melodibog bidrage til at forbedre Smagen i Sko-

are one thing; but the simple ‘folkelige’ song is clos-

lerne, vil jeg regne det for min største Sejr. Det kan

est to my heart, and if this new book of melodies canvære morsomt at dirigere en Symfoni i Udlandet, og

contribute to improving taste in the schools, I shallhvis de fremmede Folk klapper, er man naturligvis

count it my greatest triumph. It can be fun to con-tilfreds – men har man skrevet en lille Melodi, derduct a symphony abroad, and if foreigners applaud,er blevet kendt i Ens eget Land, betyder det dog saaof course I’m happy – but if you’ve written a little

meget, meget mere.”321

melody that becomes known in your own country, it324

means much, much more.”

Og et andet sted uddyber han dette:

Elsewhere he expands:“I mange, mange Aar var jeg jo for Offentlighedenden store Forms Mand, og naar jeg den Gang lejligheds-“For many, many years the public saw me as a man forvis komponerede enkle og folkelige Melodier, mente

large forms, and when I then occasionally composedman, det kunde ikke hænge rigtig sammen, det var

simple and ‘folkelige’ melodies, the view was thatthe two things didn’t belong together and that it was

319 Melodier til Sangbogen ‘Danmark’, “Forord”, dateret“Skagen den 12. August 1924”.
320 Det gælder Politiken, Berlingske Tidende, Nationaltidende, Dagbladet og ﬂere andre, alle den 9.9.1924
og med en ordlyd, der ligger meget tæt op ad hinanden.
321 Nationaltidende, 9.9.1924, citeret efter Fellow(1999), s. 317.

against my true nature. But I could never subscribe to

322 Melodier til Sangbogen ‘Danmark’, “Foreword”,
dated “Skagen 12 August 1924”.
323 In Politiken, Berlingske Tidende, Nationaltidende, Dagbladet and several others, all on 9.9.1924 and withvery similar wording.
324 Nationaltidende, 9.9.1924, see Fellow (1999), p. 317.

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imod min egentlige Natur. Det har jeg nu aldrig kunnet underskrive, forstaar De nok, tværtimod føler jeg,
at det er helt de samme Principper, den samme Musithat view, you see; on the contrary, I feel that it takes

kalskhed, der hører til, for at frembringe et sammen-

exactly the same principles, the same musicality, tohængende Arbejde, det være stort eller lille.”

322

325

create a coherent piece of work, be it great or small.”

Melodier til Sangbogen ‘Danmark’ indeholder 305 meloThe melody book contains 305 melodies to 279 po-dier til 279 digte, idet der til nogle af digtene kan væl-ems, some of the poems having several melodies to

ges mellem ﬂere melodier; de 44 af sangene er kom-chose from; 44 of the songs are composed by Nielsen,
and 19 of these were printed here for the ﬁrst time.

326

poneret af Carl Nielsen, og 19 af disse blev her trykt
for første gang.

323

Melodibogen følger ikke sangbogen,

The melody book does not follow the songbook innår det gælder antallet af vers; i melodibogen er kun

terms of the number of verses; the melody book only

trykt det antal vers, som der er plads til mellem node-prints as many verses as there is room for between thelinjerne, og eventuelt øvrige vers må hentes i sangbo-

staves, and any remaining verses have to be looked up

gen. I nærværende udgave gengives således samtlige

in the songbook. In the present edition, therefore, allvers som de optræder i sangbogen.

the verses are given as they appear in the songbook.

I 1928 udkom et tillæg til sangbogen på 49

In 1928 a supplement to the songbook wasnye sange, som senere samme år blev indarbejdet i

published, with 49 new song-texts, which later the

sangbogens fjerde udgave. Både denne udgave og fem-

same year were included in the songbook’s fourth edi-

te til ottende udgave fra 1930’erne anførte, at der villetion. Both this and the ﬁfth to eighth editions fromkomme et meloditillæg med de nye sange. Af ukendte

the 1930s stated that there was to be a supplementårsager skete dette ikke før i foråret 1940.

consisting of melodies for the new songs. For un-

ladende var Carl Nielsen involveret i disse planer, for

known reasons, this did not happen before the spring

han skrev yderligere et par nye sange, som således

327

324

Tilsyne-Apparently Nielsen was involved in these

forblev i manuskript indtil de posthumt blev udgivet

plans, since he wrote an additional couple of songs,

i den reviderede udgave af melodibogen fra 1940. Det

which remained in manuscript until they were pub-drejer sig om “Nu ruger paa Reden” (nr. 398) og “Jeglished posthumously in the revised 1940 edition of

har båret Lærkens Vinge” (nr. 396).

of 1940.

325

the melody book. The songs in question are “On straw
and on feather the brooding call” (No. 398) and “Skylark wings I used to carry”(No. 396).

322 Politiken, 9.9.1924, citeret efter Fellow (1999), s. 313.
323 Det drejer sig om nr. 333, 334 (det er dog ikke
med sikkerhed godtgjort, at dette er den første
trykte udgave af “Der er et yndigt Land”), 336,
340, 341, 343, 346, 348, 352, 354, 355, 356, 364,
366, 370 og 373-376.
324 Oplysninger i litteraturen (bl.a. i Fog og Schousboe (1965), s. 41 og Henning Bro Rasmussen,“Om Sangbogen ‘Danmark’ og Carl Nielsen som
skolesangbogsredaktør”, Uddannelseshistorie 1992.
26. Årbog for Dansk Skolehistorie, s. 59, note 4) om
en ny revideret udgave af melodibogen alleredei 1926/27 med bl.a. 18 nye sange af Carl Nielsen
er efter alt at dømme fejlagtige; den således
omtalte udgave er formentlig udgaven fra 1940.
Dette underbygges af det forhold, at en af de deri
optagne nye sange – “Jeg gik i marken og vogtede
får” (nr. 270) – ifølge Carl Nielsens dagbogsnotater først er komponeret den 2. april 1928. Endvidere viser Wilhelm Hansens stikkerbøger, at 69
nye plader til Sangbogen ‘Danmark’ blev stukket
den 2. februar 1940.
325 Jf. korrespondance mellem Carl Nielsen og Wilhelm Hansen (se ovenfor under nr. 273).

328

325 Politiken, 9.9.1924, see Fellow (1999), p. 313.
326 These are Nos. 333, 334 (though it is not completely certain that this is the ﬁrst printed edition of“A fair and lovely land”), 336, 340, 341, 343, 346,
348, 352, 354, 355, 356, 364, 366, 370 and 373-376.
327 Information in the literature (for example in
Fog & Schousboe (1965), p. 41, and Henning Bro
Rasmussen, “Om Sangbogen ‘Danmark’ og Carl
Nielsen som skolesangbogsredaktør”, Uddannelseshistorie 1992. 26. Årbog for Dansk Skolehistorie, p.
59, note 4) concerning a new revised edition of
the melody book as early as 1926/27, containing
amongst other things 18 new songs by Nielsen,
is so far as we can judge incorrect; the edition inquestion is presumably the one from 1940. This is
supported by the fact that one of the new songs
included there – “Out in the ﬁelds I was watching the sheep” (No. 270) – was only composed,
according to Nielsen’s diary entries, on 2 April
1928. Furthermore Wilhelm Hansen’s engravers’
book shows that 69 new plates for Sangbogen ‘Danmark’ were engraved on 2 February 1940.
328 Cf. correspondence between Nielsen and Wilhelm Hansen (see above, No. 273).

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Kanoner (nr. 377-382)
De seks kanoner er Carl Nielsens bidrag til Finn Høffdings og Hakon Andersens 60 danske Kanoner for 2 til

Canons (Nos. 377-382)

4 lige Stemmer. Til Brug for Skoler og Seminarier fra 1930.

The six canons are Nielsen’s contribution to Finn

Teksterne er, som det fremgår, af meget forskellig op-

Høffding’s and Hakon Andersen’s 60 Danish Canons forrindelse:

2 to 4 Equal Voices. For the Use of Schools and Teachers’ Colleges of 1930. The texts are highly diverse in origin:

Bokserne (“Ve’ du sla’ mej”)
ukendt, muligvis Carl Nielsen

326“Traaden brister, Rokken staaer”

Boxers (“Wanna hit me”)
unknown author, possibly by Nielsen

329

H.C. Andersen“Vægter, jeg beder, hold op med i Sang”“Thread has broken, wheel has stopped”

Ludvig Holberg

Hans Christian Andersen“Watchman, I beg you, please stop with your song”“Ikke det altid slaar til”
Ludvig Holberg

Ludvig Holberg“Du skal le ad Ødelæggelse”“It is not always the case”

Jobs Bog kap. 5 v. 22-23

Ludvig Holberg“Stilhed og Mørke”“You will laugh at harm and famine”

Mottoet fra Helios ouverturen

Book of Job 5:22-23“Silence and Darkness”

En enkelt tone i “Vægter, jeg beder” (nr. 379) voldte

Motto from the Helios Overtureøjensynligt udgiveren problemer; i et brev til kompoOne note in “Watchman, I beg you” (No. 379) seems tonisten skrev Finn Høffding bl.a.:have given the editor problems; in a letter to the com“Nr. 34 [Nr. 379] har i anden Stemme Takt 3, 3

poser Finn Høffding wrote:

die

Node

et d, som har gjort mig lidt tvivlraadig, selv om det“No. 34 [No. 379] has in the second voice, bar 3,

staar i Deres Manuskript. Det kan jo være begge Dele;third note, D, which I’m rather doubtful about, evenholder man paa Es-Dur Tonearten skal det være d,though it’s there in your manuscript. It can be either

holder man paa Stemmens d.v.s Imitationens Gen-

way: if you keep the E ﬂat major tonality, it should be

nemførelse skal det være des; da Imitationen ellers iD, but if you keep to the voice-leading, i.e. the imita-

Kanonen er strengt gennemført, hvorimod Toneartention, it should be D ﬂat; since the imitation in the

ikke er det, kom jeg i Tvivl og derfor vilde jeg nu ger-canon is otherwise strict, whereas the tonality isn’t,

ne spørge Dem om det ikke skal være des??”327

I’m in some doubt, and so I should like to ask you
330

whether it shouldn’t actually be D ﬂat??”

Udover disse seks kanoner er der vidnesbyrd om
endnu en kanon af Carl Nielsen. I erindringsbogen

Apart from these six there is evidence of still another

Foraarsbølger fortæller Carl Nielsens ungdomskærestecanon by Nielsen. In her book of memoirs, Foraars-

Emilie Demant om en kanon, “De Nisser de pusler ibølger, Nielsen’s childhook sweetheart Emilie Demant tells of a canon entitled “The pixies are potter-

326 Teksten af Carl Nielsen iﬂg. Schousboe (19831984), s. 39.
327 Brev af 13.8.1930 (CNA, I.A.b.12).

ing in byre and barn”, which Nielsen had composed

329 Text by Nielsen according to Schousboe (19831984), p. 39.
330 Letter of 13.8.1930 (CNA, I.A.b.12).

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Lo og i Lade”, som Carl Nielsen havde komponeret, og
som de af og til morede sig med at synge i de somre,
som de tilbragte sammen i årene 1887-1889. Kanonen
and which they occasionally amused themselves by

er at ﬁnde blandt Emilie Demant Hatts papirer i en

singing in the summers they spent together in 1887-

nedskrift fra 1950 af Margrete Rosenberg 60 år efter,

1889. The canon is to be found among Emilie Demant

at den angiveligt blev til.

Hatt’s papers in a copy from 1950 by Margrete Rosen-

tidligere kilde, er denne kanon dog ikke medtaget i

331

Since

berg, 60 years after it was apparently written.

328

Da der ikke kendes nogennærværende udgave.

no contemporary source is known, this canon is not

b. Enkeltsatser for lige stemmer (nr. 383-400)

included in the present edition.

Langt den overvejende del af satserne i denne gruppe

b. Separate songs for equal voices (Nos. 383-400)

ﬁndes også i andre udsættelser fra Carl Nielsens hånd.

By far the majority of all the pieces in this group areBesætning og kildeforhold for de enkelte sange er

also to be found in other arrangements by Nielsen. The

anført i forbindelse med Editorial Emendations and Al-

arrangement and state of sources of the individual

ternative Readings. Nogle af melodierne er behandlet

songs are given in the Editorial Emendations and Alterna-

mere indgående i forbindelse med andre versioner

tive Readings. Several of the melodies are dealt with in

af den pågældende sang; det gælder “Frydeligt med

more detail in connection with other versions of theJubelkor” (nr. 387), Hymne til Danmark (nr. 390), Fædre-relevant song; this goes for “Jubilation, shouts of glee”

landssang (nr. 391), “Min Pige er saa lys som Rav”

(No. 387), Hymn to Denmark (No. 390), Danish Patriotic(nr. 392), “Der er et yndigt Land” (nr. 394) og “Dan-Song (No. 391), “Like golden amber is my girl” (No. 392),

mark, nu blunder den lyse Nat” ( nr. 399 og 400).
Otte af sangene blev trykt i Carl Nielsens leve-“A fair and lovely land” (No. 394) and “Denmark, now
slumbers the Northern night” (Nos. 399 and 400).

tid, mens ti forblev utrykt.

329

Eight of the songs were printed in Nielsen’s332

Nr. 383 Græshoppen (“Græshoppen sidder paa Engen”)

lifetime, ten remaining unprinted.

for 2 lige stemmer udkom på Wilhelm Hansens MuNo. 383 Grasshopper (“Grasshopper sits in the mead-sikforlag i 1899 i 2. samling af J. Mikkelsens Skolesange.

ow”), for two equal voices, was published by Wilhelm

52 tostemmige Sange. Den blev straks populær – i en så-

Hansens Musikforlag in 1899 in the second collec-

dan grad, at Carl Nielsens to døtre under deres skole-tion of J. Mikkelsen’s Skolesange. 52 tostemmige Sange.

gang en tid gik under øgenavnet “Græshopperne.”330

It became popular straight away – to such a degree
that for some time in their schooldays Nielsen’s two
333

daughters were nicknamed “The grasshoppers”.

Nr. 384 Edderkoppens Sang af ‘Aladdin’ (“Betragt mit svage Spind”) for trestemmigt børnekor blev renskrevet
4. december 1899, og som titelbladet angiver tilegnet

No. 384 The Spider’s Song from ‘Aladdin’ (“Behold my web,

Carl Nielsens studiekammerat Margrete Rosenberg

how frail”), for three-part children’s choir was fair cop-“med fuldstændig / Ejendomsret ved Opførelse og

ied on 4 December 1899 and, as indicated on the title

Udgivelse”.

page, dedicated to Nielsen’s fellow student Margrete

Wilhelm Hansen (med Carl Nielsens renskrift som

331

Først otte år senere blev den trykt hos

Rosenberg “with full / rights in performance and pub334

lication”.

It was not printed until eight years later

328 Hatt (2002), s. 38-40.
329 Trykt: nr. 383-385, 387-388, 391-393; utrykt: nr.
386, 389-390, 394-400.
330 Schousboe (1983-1984), s. 15.
331 Se MS 33 2064.

by Wilhelm Hansen (with Nielsen’s fair copy serving

331 Hatt (2002), pp. 38-40.
332 Printed: Nos. 383-385, 387-388, 391-393; unprinted: Nos. 386, 389-390, 394-400.
333 Schousboe (1983-1984), p. 15.
334 See MS 33 2064.

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trykforlæg). Carl Nielsen skrev senere en ny melodi til
teksten, som udkom i Tyve folkelige Melodier i 1921 (senr. 141).
as printer’s copy). Nielsen later wrote a new melody
for the text, which was published in the collection

Nr. 385, 386 “Kom blankeste Sol!” for 3 lige stemmer

Twenty “folkelige” Melodies in 1921 (see No. 141).

komponerede Carl Nielsen i 1901 på opfordring af rektor for Kolding Almenskole Sigurd Müller til brug forNos. 385 and 386 “Come, glistering sun!” for threeskolens traditionelle majfest. Renskriften er dateretequal voices, were composed by Nielsen in 1901 at

9. april 1901, og sangen blev opført ved skolens fest

the request of the headmaster of Kolding Secondaryden 10. maj. Begivenheden blev indgående beskrevet

School, Sigurd Müller, for use at the school’s tradi-i Kolding Avis, der om Carl Nielsens nye melodi skrev,

tional May Festival. The fair copy is dated 9 April 1901,

at den “føjer sig smukt om Sangens Ord”.

and the song was performed at the school’s festivi-

Müller takkede bagefter og beskrev i et brev af 11. majties on 10 May. The event was described in detail in

1901, hvorledes det hele havde formet sig:

332

SigurdKolding Avis, which wrote of Nielsen’s new melody
that it “blends in so beautifully with the words of the
335“Paa Raadhustorvet havde jeg indrettet det saaledes, atSigurd Müller thanked the composer after-den før min lille Tale blev sungen trestemmigt a cap-

wards and described in a letter of 11 May 1901 howpella af en udvalgt Flok og efter Talen af hele Skaren

the whole thing had turned out:

med Blæsere til; vor ‘Musikdirektør’ havde skilt sigsong”.

forholdsvis menneskeligt ved Arrangementet.
Paa mig personligt har Deres Melodi virket“At the Town Hall square I had arranged things sothat before my little speech the song was sung in

meget stærkt, saa stærkt endog, at jeg, da vi paa Mar-

three parts a cappella by a specially chosen group, andschen hjemad i Jærnbanegade kom til a,e,c i anden

then after the speech by the whole assembly with theTakt, nær var kommen til, som man siger, ‘at vande

winds added; our ‘Music Director’ had made quite a

Høns’–[...]

decent showing with the arrangement.
Personally speaking your song made a great ef-

Det er ikke blot de skønne Harmonier, jeg er

fect on me, so much so that when on the march backsaa glad ved, skønt jeg jo nok kan mærke, hvad de erhome along Jernbanegade we came to the notes A, E,

værd, men ogsaa selve Underbygningen eller Skelet-

C in the second bar, I was nearly crying like a baby –tet, Melodien, eller hvad man nu vil kalde det.”[...]It’s not just the beautiful harmonies I like so

Teksten er oprindelig skrevet til skolens majfest den

much, though I can certainly tell how ﬁne they are,22. maj 1730 af den daværende rektor, Albert Thura;

but also the foundation, or the skeleton, the melody

efter en pause genoptog man traditionen med maj-or whatever you want to call it.”festerne i 1899, og i 1906 bidrog Carl Nielsen på ny til

333

The text had originally been written for the school’s

332 Kolding Avis, 11.5.1901.
333 Albert Thura, rektor for Kolding Latinskole 17231726. Teksten ﬁndes i Albert Thura, Valvæ scholarum Daniæ, s. 434 jf. Georg Bruun, i: Kolding højere
Almenskoles Majfest, Kolding 1924, s. 31 note 23 og
Fellow (2006), s. 209.

May Festival on 22 May 1730, by the then headmaster
Albert Thura;

336

after a hiatus, the tradition was tak-335 Kolding Avis, 11.5.1901.
336 Albert Thura, headmaster of Kolding Grammar
School 1723-1726. The text is in Albert Thura,Valvæ scholarum Daniæ, p. 434 cf. Georg Bruun, in:Kolding højere Almenskoles Majfest, Kolding 1924,
p. 31 note 23, and Fellow (2006), p. 209.

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festen, denne gang med musik til Morten Børups majvise, “Frydeligt med Jubelkor” (nr. 387).
Af et brev fra Sigurd Müller til komponisten
en up again at the May Festival in 1899, and in 1906

fra august fremgår det, at nogle sforzando-tegn i takt

Nielsen contributed to the festival again, this time

6 og 10 ikke kom med i førstetrykket af sangen iwith music for Morten Børup’s May song, “Jubilation,

skolens årsskrift. Rektoren havde dog følgende gode

shouts of glee” (No. 387).

forklaring på fejlen: “De maa ikke blive vred over, at

A letter from Sigurd Müller to the composerin August mentions that some sforzando signs in bars

Sforzandotegnene ikke ﬁndes; det var ikke muligt at
opdrive saadanne i noget af vore Trykkerier.”

334

Carl Nielsens to udsættelser for tre og to lige

6 and 10 were not included in the the ﬁrst printing of
the song in the school yearbook. The headmaster of-stemmer er sandsynligvis samtidige, idet man må for-fered the following explanation: “Please don’t be angry

mode, at begge versioner (for SSA og SA) var tiltænkt

about the fact that the sforzando signs are missing; we

majfesten i 1906; det var imidlertid kun den trestem-

337

couldn’t ﬁnd them in any of our printing houses.”

Nielsen’s two arrangements for three and two
equal voices were probably made at the same time,mige version, der blev trykt. Sangen udkom desuden
i 1906 for mandskor i Carl Nielsens eget arrangement(nr. 319).
Den blev opført året efter den 19. april på

since both versions (for SSA and SA) were presumably made for the May Festival in 1906; however, only

335

Gammelholms Latin- og Realskole.

the three-part version was printed. The song also appeared in 1906 for male-voice choir in Nielsen’s own

Nr. 387 Morten Børups Majvise for tre lige stemmer blev

arrangement (No. 319).

komponeret til Kolding Almenskoles majfest i 1906

It was performed the next year on 19 April at
Gammelholm’s Grammar and Secondary School.

338

til Morten Børups Carmen vernale i Frederik Moths
oversættelse.

336

Kompositionen blev trykt i Indbydel-

sesskrift til Afgangs- og Aarsprøven 1906 i Kolding højere
No. 387 “Jubilation, shouts of glee” for three equal

Almenskole i 1906.
Nedenfor bringes en skematisk oversigt overvoices was composed for Kolding Secondary School’s
May Festival in 1906, to Morten Børup’s Carmen vernale339

in Frederik Moth’s translation.

The composition

de forskellige satser af Carl Nielsen, der alle bygger påMorten Børups Carmen vernale fra begyndelsen af 1500337

som det fremgår, komponerede Carl Nielsen

was printed in Indbydelsesskrift til Afgangs- og Aarsprøven

tallet;1906 i Kolding højere Almenskole in 1906.

to forskellige melodier til de to oversættelser (i ske-

Below is a tabular summary of the various

maet anført som henholdsvis “A” og “B”):

pieces by Nielsen based on Morten Børup’s Carmen ver340

nale from the early 1500s;

as may be seen, Nielsen

334 Jf. Fellow (2006), s. 209 note til brev nr. 175.
335 Jf. Fellow (2006), s. 242 er brevet skrevet på bagsiden af et trykt program for Gammelholms Latin- og Realskoles aarlige Sangprøve, dateret lørdag
19.4.1902.
336 Af Kolding Folkeblad 8.5.1906 fremgår, at man ved
denne majfest sang såvel Carl Nielsens nye melodi som hans fem år tidligere komponerede (seovenfor under nr. 385).
337 Trykt uden forfatterangivelse i Piae Cantiones,
1582.

composed different melodies for the two translations(marked “A” and “B” on the table):

337 Cf. Fellow (2006), p. 209, note to letter No. 175.
338 Cf. Fellow (2006), p. 242; the letter was written on
the back of a printed programme of Gammelholms
Latin- og Realskoles aarlige Sangprøve, dated Saturday 19.4.1902.
339 Kolding Folkeblad, 8.5.1906, reports that at thisMay Festival Nielsen’s new melody was sungalong with the one he had composed ﬁve years
previously (see above, No. 385).
340 Printed without indication of author in Piae Cantiones, 1582.

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CNU serial number Year
CNU løbenummer År

Title
Titel

First line
Første linje

Melody Arrangement
Melodi Besætning

387

1906

Morten Børup’s Song of May “Jubilation, shouts of glee” A
Morten Børups Majvise“Frydeligt med Jubelkor”

422

1921

A
“Springtime, springtime
breaking through”“Vaaren, Vaaren er i Brud!”

Unison song
Enstemmig

347

1924

“Jubilation, shouts of glee” A“Frydeligt med Jubelkor”

SA
SA

313

1926

“Springtime, springtime
breaking through”“Vaaren – Vaaren er i
Brudd!”

B

Mixed choir (SATB)
Blandet kor (SATB)

402

1926

“Springtime, springtime
breaking through”“Vaaren, Vaaren er i Brud”

B

Unison song
Enstemmig

207

1927

“Jubilation, shouts of glee” A“Frydeligt med jubelkor”

SSA
SSA

Piano texture with
underlaid text
Klaversats med
underlagt tekst

No. 388 “We boys and girls we waken” was printed as

Nr. 388 “Vi Børn, vi Børn, vi vaagner” blev trykt som

a postcard and sold for the beneﬁt of Child Welfare

postkort og solgt til fordel for Børnehjælpsdagen 1911

Day 1911 (see also Nos. 230, 305 and 325).

(se i øvrigt nr. 230, 305 og 325).

No. 389 Children’s Song (“Come today and join the cho-

Nr. 389 Barnets Sang (“Kom, i Dag maa alle synge”), derrus”), which was published in 1915 for voice and pi-

i 1915 udkom for sang og klaver (nr. 236), foreligger

ano (No. 236), is also found in manuscript in a version

tillige i manuskript i en version for to lige stemmer.

for two equal voices.
Nr. 390 Hymne til Danmark (“Danmark, i tusind Aar”):
No. 390 Hymn to Denmark (“Denmark, a thousand

se nr. 111 og 361. Versionen for to lige stemmer fore-

years”): see Nos. 111 and 361. The version for two equal

ligger kun som manuskript.

voices is found only in manuscript.
Nr. 391 Fædrelandssang (“Du danske mand! af al din
No. 391 Danish Patriotic Song (“Sing, Danish man! Withmagt”, se hovedomtale under nr. 224) ﬁndes i adskil-

all your might”), see main discussion under No. 224),

lige versioner fra Carl Nielsens hånd (nr. 167, 224, 300,

is found in various versions in Nielsen’s hand

320 og 339). For tre lige stemmer blev den trykt i Nor-

(Nos. 167, 224, 300, 320 and 339). The version for threediske Sange for tre lige Stemmer fra 1920.

equal voices was printed in Nordiske Sange for tre lige
Stemmer of 1920.

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Nr. 392 “Min Pige er saa lys som Rav” blev trykt i etarrangement for to lige stemmer i Børnehjælpsdagens
Sange 1921 (se også nr. 118).
No. 392 “Like golden amber is my girl” was printed in
an arrangement for two equal voices in Børnehjælpsda-

Nr. 393 Hymne til Livet (“Himmelkraftens Herre”) med

gens Sange 1921 (see also No. 118).

tekst af Sophus Michaëlis for ﬁrstemmigt drengekor
blev komponeret i 1921 som bidrag til den svenske

No. 393 Hymn to Life (“Universal power”), to a text bystadsombudsmand Gustav Schlyters store tyske bog-

Sophus Michaëlis for four-part boys’ choir, was com-værk Die Feuerbestattung und ihre kulturelle Bedeutung: derposed in 1921 as a contribution to the Swedish State

Tempel des Friedens, udgivet i Leipzig 1922. Bogen om-

Ombudsman Gustav Schlyter’s large book in German,

handler blandt andet de forskellige europæiske landes

Die Feuerbestattung und ihre kulturelle Bedeutung: der Tem-

syn på ligbrænding, de historiske, praktiske og hygiejni-

pel des Friedens, published in Leipzig in 1922. The bookske forhold omkring dette fænomen samt de æstetiske

deals amongst other things with the attitude towards

rammer for selve afholdelsen af ligbrændingen. Alle-cremation in various European countries, its histori-

rede i 1918 havde Schlyter henvendt sig til Michaëlis, ogcal, practical and hygienic aspects, and the aesthetic

efter at have modtaget digterens skriftlige tilsagn vide-

setting of its actual carrying out. Schlyter had ap-

resendte han dette til Carl Nielsen for at gøre ham inte-proached Michaëlis as early as 1918, and having ob-

resseret i sin del af opgaven.

tained the poet’s written agreement, he passed thistil Carl Nielsen antydede Schlyter, hvordan hymnen

on to Nielsen in order to prompt his interest in his

eventuelt kunne anvendes i et krematorium i forbindel-

341

part of the task.

In one of his subsequent letters to338

I et af sine senere breve339

se med en stor udstilling i Göteborg,

idet han skrev:

Nielsen, Schlyter indicated how the hymn might eventually be used in a crematorium, in connection with a“Vi hoppas, att denna tempel anläggning skall bli virk-large exhibition in Gothenburg:

lighet och ett hem för den bästa av all musik, den som
340

lindrar i bedrövelse och äggar til nytt og rikare liv.”“We hope that this temple building will become areality and a home for the best kind of music, which

I august 1921 var teksten færdig,341 og endelig den 31.

will console the bereaved and inspire everyone to new

oktober 1921 sendte Carl Nielsen renskriften af par-342

tituret til Schlyter, med blandt andet følgende kom-and richer life.”

mentar:In August 1921 the text was ﬁnished,343 and ﬁnally on
31 October 1921 Nielsen sent the fair copy of the score“Endelig har jeg faaet Tid at renskrive ‘Hymne til Li-

to Schlyter, including the following commentary:vet’ og jeg beder tilgive at det har varet saa længe efter at jeg meddelte Dem om Kompositionen.

“I’ve ﬁnally had time to make a fair copy of ‘Hymn to

Stykket er, som De ser, holdt 3 stemmigt ind-

Life’, and I beg your forgiveness that it’s been so longtil de sidste 3 Takter der er i tæt ﬁrstemmig Beliggen-since I told you about the composition.

hed.”

342

As you’ll see, the piece is in three parts until
the last three bars, which are in close four-part har-

338 Brev af 24.11.1918 (Landsarkivet i Lund, Schlyterska
samlingen, A:12).
339 Udstillingen fandt sted i 1923.
340 Brev af 2.5.1919 (CNA, I.A.b.).
341 Jf. brev af 25.8.1921 fra Schlyter til Nielsen (Landsarkivet i Lund, Schlyterska samlingen, A:15).
342 Landsarkivet i Lund, Schlyterska samlingen, A:15.

344

mony.”

341 Letter of 24.11.1918 in the Lund National Archive,
Schlyter collection, A:12.
342 Letter of 2.5.1919 (CNA, I.A.b.).
343 Cf. letter of 25.8.1921 from Schlyter to Nielsen(Lund National Archive, Schlyter collection, A:15).
344 Lund National Archive, Schlyter collection, A:15.

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I 1923 modtog Carl Nielsen et eksemplar af bogen343

med en hjertelig tak fra forfatteren.

Det vides ikke, om dette værk for drengekor
nogensinde er blevet opført i sin oprindelige skikIn 1923 Nielsen received a copy of the book, with345

warm thanks from the author.

kelse; den 12. marts 1925 blev en udsættelse forﬁrstemmigt damekor, skrevet og arrangeret af Poul

It is not known whether this work for boys’

Schierbeck, opført af dennes kor Echo i Dansk Kon-

choir was ever performed in its original guise; on 12

certforening. Dette arrangement er i visse passager

March 1925 a version for women’s choir, written andafvigende fra Carl Nielsens udsættelse, og har ikke

arranged by Poul Schierbeck, was performed by hisværet inddraget i revisionen af værket.
Hymne til Livet er således overleveret i to kilder,choir, Echo, at the Danish Concert Society. This arrangement departs from Nielsen’s in certain passages

Carl Nielsens autograf, som beﬁnder sig i Landsarki-

and has not been taken into consideration in the edit-

vet i Lund, og den trykte udgave i Gustav Schlytersing of the work.

tyske bog fra 1922 om ligbrænding.

Hymn to Life is thus found in two sources: Nielsen’s autograph, now in the Lund National Archive,

Nr. 394 “Der er et yndigt Land” er overleveret i Carland the printed edition in Gustav Schlyter’s German

Nielsens autograf for ﬁre lige stemmer, dateret 20.

book of 1922 about cremation.

juni 1924. Autografen har følgende påtegning:

No. 394 “A fair and lovely land” survives in Nielsen’s“20/6 24 Frederiksholms Kanal 28 A Kære Hr. Siboni!

autograph for four equal voices, dated 20 June 1924.

Deres venlige Ord har foranlediget mig til at udsætte

The autograph has the following annotation:

Mel. paa en ny Maade[.] De ser, at Takterne 1. 3. 7. 9.
te
10. 11 og sidste Akkord i 5 Takt er anderledes end i“20/6 24 Frederiksholms Kanal 28A. Dear Hr. Siboni!

bl. Kor-Udgaven; men de ﬁre lige Stemmer er et andetYour kind words have induced me to arrange the mel-

Materiale, og jeg tror nok det vil klinge ordentlig paa

ody in a new way[.] As you will see, bars 1, 3, 7, 9, 10

denne Maade. Vil De engang gøre mig en Afskrift af

and 11 and the last chord in bar 5 are different fromdenne Udsættelse vil jeg meget gerne have den, da jeg

in the mixed-choir edition; but the four equal voices

har liden Tid til selv at gøre den.”are a different kind of material, and I believe it willsound ﬁne this way. If you could sometime make me a

Se i øvrigt nr. 262.

copy of this arrangement, I should very much like tohave it, since I don’t have time to do it myself.”

Nr. 395 “Tyst som Aa i Engen rinder” er en kasseret
tostemmig version til Melodier til Sangbogen ‘Danmark’See also No. 262.

fra 1924. Utrykt.

No. 395 “Silent as a stream’s meander” is a rejected

Nr. 396 “Jeg har båret Lærkens Vinge”

two-part version for Melodies for the Songbook ‘Denmark’

Nr. 397 “Jeg kører frem gennem Straalefryd” (se ogsåof 1924. Unpublished.

nr. 263)
Nr. 398 “Nu ruger paa Reden i Fjer og Straa” (se ogsåNo. 396 “Skylark wings I used to carry”

nr. 273)

No. 397 “I drive along in a splendent spell” (see also
No. 263)343 Jf. brev af 7.2.1923 (Landsarkivet i Lund, Schlyterska
samlingen, A:18).

No. 398 “On straw and on feather the brooding call”(see also No. 273)

345 Cf. letter of 7.2.1923 (Lund National Archive, Schlyter collection, A:18).

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Disse tre utrykte, tostemmige satser er formentlig tiltænkt den reviderede udgave af Melodier til Sangbogen‘Danmark’, der imidlertid først udkom i 1940 efter Carl
These three unpublished two-part pieces were pre-Nielsens død (se ovenfor under nr. 333-376).

sumably intended for the revised edition of Melodies
for the Songbook ‘Denmark’, which, however, only ap-

Nr. 399 “Danmark, nu blunder den Lyse Nat”.

peared in 1940, after Nielsen’s death.

Tostemmig version uden tekst. Utrykt. Se Enkeltsangenr. 285.

No. 399 “Denmark, now slumbers the Northern night”.
Two-part version, unpublished. See Separate Songs,

Nr. 400 “Danmark, nu blunder den lyse Nat”.

No. 285.

Trestemmig version, utrykt. Se Enkeltsange nr. 285

No. 400 “Denmark, now slumbers the Northern night”.
Three-part version, unpublished. See Separate Songs,

IV. SANG UDEN LEDSAGELSE (nr. 401-423)

No. 285.

A. Samlinger (nr. 401-416)
Nye Melodier til Johan Borups Dansk Sangbog, 1926
(nr. 401-416)344

IV. UNISON SONGS (Nos. 401-423)

I forordet til sin Dansk Sangbog ved Johan Borup fra

A. Collections (Nos. 401-416)
New Melodies for Johan Borup’s Danish Songbook,1926 (Nos. 401-416)346

1914 havde udgiveren proklameret, at der snart villeIn the foreword to Danish songbook by Johan Borup ofnyere Sangtekster i Johan Borup Dansk Sangbog redigeret

1914 the editor had proclaimed that “a music volume

af Carl Nielsen fra 1916, en samling med i alt 54 en-with the new melodies” would soon appear. This hap-stemmige melodier, hvoraf de 15 var af Carl Nielsen. I

pened two years later with the collection New Melodies

forbindelse med arbejdet førte Carl Nielsen en omfat-

to the New Texts of Johan Borup’s Danish Songbook Edited

tende korrespondance med Johan Borup,

by Carl Nielsen of 1916, a collection totalling 54 single-

Thomas Laub blev inddraget. Sidstnævnte fandt dog

line melodies, of which 15 are by Nielsen. In connec-

som nævnt i det foregående ikke opgaven særlig in-tion with the work, Nielsen conducted an extensive

teressant og bidrog kun med to sange til samlingen.

347

correspondence with Johan Borup,

and Thomas

udkomme “et Musikhæfte med de nye Melodier”. Det
skete to år senere med samlingen Nye Melodier til des345

og også

Men det blev anledningen til hans opfordring til Carl

Laub was also brought in on the project. However, as

Nielsen om at indgå i et samarbejde om En Snes danske

mentioned above, the latter found the task not espe-

Viser i det berømte brev fra december 1914 med den

cially interesting and only contributed two songs to
the collection. But this did become the occasion for

344 Numrene 401-416 omfatter kun Carl Nielsens
sange til udgaven fra 1926 og er gengivet i nærværende udgave i deres enstemmige version. Sangene fra udgaven fra 1916 kan ﬁndes dels blandt
de enstemmige enkeltsange (nr. 418 og 421), delssom melodistemme i de samlinger, hvori de i øvrigt blev udgivet (nr. 107, 36, 167, 25, 31, 108, 176,
97, 98, 106, 88, 92, og 32).
345 Breve fra Johan Borup af 2.5., 25.6., 29.6.,
9.12.1914 (CNA, I.A.b.), breve fra Carl Nielsen
til Johan Borup af 14.11. og 16.11.1914, 2.9. og
6.9.1915.

Laub’s suggestion to Nielsen to embark on a collaboration on A Score of Danish Songs, in his famous letterof December 1914 with the introductory remark to

346 Numbers 401-416 comprise only Nielsen’s contributions to the 1926 publication and are given in
the present edition in their single-line versions.
The songs in the 1916 edition may be found either
among the single-line separate songs (Nos. 418
and 421), or as melodic lines in the collections inwhich they were also published (Nos. 107, 36, 167,
25, 31, 108, 176, 97, 98, 106, 88, 92, and 32).
347 Letters from Johan Borup of 2.5., 25.6., 29.6., and9.12.1914 (CNA, I.A.b.), letters from Nielsen to
Borup of 14.11. and 16.11.1914, 2.9. and 6.9.1915.

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indledende bemærkning om, at Laub “ikke har helt
ﬁdus til det ‘Borupske”.

346

Grunden til hans skepsis

var nok ikke så meget, at melodierne i sangbogen var
the effect that Laub did not have “complete trust in
348

the Borup thing”.

The reason for his scepticism wasenstemmige, men snarere det, som han opfattede
som et ukritisk tekstvalg.
Carl Nielsen havde også sine problemer; påprobably not so much that the melodies in the songbook were single-line ones, but rather that he felt theden ene side var det vanskeligt at få Wilhelm Hansens

choice of texts was undiscriminating.

Musikforlag til at påtage sig udgivelsen, og på den an-

Nielsen also had his problems; for one thing it
was difﬁcult to get Wilhelm Hansens Musikforlag toden side måtte han af og til kritisere bidrag fra komponister, der havde været eller var hans egne elever.

take the publication on, and for another he occasion-

Blandt de 15 melodier af Carl Nielsen var der

ally found he had to criticise contributions from com-kun en enkelt, “Og jeg vil drage fra Sydens Blommer”

posers who were or had been his own pupils.

(nr. 239, 421), der ikke allerede var blevet trykt eller

Among the 15 melodies by Nielsen only a single one, “The South I’m leaving” (Nos. 239, 421), hadudkom næsten samtidigt andre steder end i melodihæftet til Borups sangbog.

not previously been printed or else came out at virtu-

Ti år senere, i 1926, udkom Borups sangbog

ally the same time elsewhere than in the melody vol-i “anden ændrede og forøgede Udgave” og i tilknyt-

ume for Borup’s songbook.

ning hertil Nye Melodier til Johan Borups Dansk Sangbog,

Ten years later, in 1926, Borup’s songbook

denne gang på Borups Musikforlag og denne gangcame out in a “second revised and expanded edition”,

redigeret af Adolf Riis-Magnussen, idet Carl Nielsen af

and in parallel with this the New Melodies for Johanhelbredsgrunde måtte nøjes med at fungere som kon-

Borup’s Danish Songbook, this time published by Borups

sulent.

Musikforlag and edited by Adolf Riis-Magnussen,

som i forbindelse med udgaven ti år forinden, var han

since for health reasons Nielsen had to be contentstærkt optaget af den udfordring, der lå i at skrive349with the role of consultant.

Nielsen himself con-347

Han bidrog selv med 16 nye melodier, og nu,

enstemmige sange: “det er ejendommeligt at lægge

tributed 16 new melodies, and now, as in connectionMærke til at skøndt Melodierne kun er enstemmige

with the edition of ten years previously, he was verysaa er der dog stor Forskel paa de Menneskers Frem-enthusiastic about the challenge of writing single-linebringelser.”348

Et andet sted hedder det:songs: “it is remarkable to observe that although the
melodies are only single lines, there are still great differences in individual composers’ contributions”.

350“Jeg har nu haft ialt circa 30-40 nye Mel: her til Gennemsyn og det er virkelig interessant at se de forskellige Karakterer i disse enkle (*folkelige)

Elsewhere he wrote:349

Toner som

er enstemmige, hvor intet kan skjules ved Hjælp af“I have now had around 30 to 40 new melodies in all
to assess, and it is really interesting to see the different
351

characters in these simple (*“folkelige”)

346 Citeret ovenfor s. 51-52.
347 Se brev til Søs og Emil Telmányi af 13.5.1926:“Det er en Sangbog som Borups Højskole udgiverog en hel Del – de bedste – af vore Komponister
har lavet ﬂere Melodier til, som jeg alle skal seigennem og kritisere”.
348 Brev til Vera Michaelsen af 10.5.1926.
349 Fodnote i Carl Nielsens brev: “skal være til det
Brug: skal synges af Forsamlingen”.

tones, which

are single-line, where nothing can be covered up by

348 Cited above, pp. 51-52.
349 See letter to Søs and Emil Telmányi of 13.5.1926:“This is a songbook that Borup’s High School ispublishing, and a large number – the best – ofour composers have produced melodies for it, allof which I have to look through and criticise.”
350 Letter to Vera Michaelsen of 10.5.1926.
351 Footnote in Nielsen’s letter: “to be used for singing in large groups”.

Carl Nielsen Udgaven CN 00051

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interessante Harmonier o.l. Jeg faar ogsaa Komponisternes Breve til Riis-M. medsendt og en af de mest
begavede – han har virkelig skrevet gode større Ting
means of interesting harmonies and the like. I have

– røber en saadan Mangel paa Forstaaelse for denne

also had the composers’ letters to Riis-M sent along,

Opgave, at han skriver: ‘dem kan jeg let skrive saa

and one of the most talented individuals – he has re-mange af De ønsker; det kan jo gøres paa Vejen ind til

ally composed good large-scale things – reveals such

Byen i Sporvognen eller i Toget’ – Det er jo rigtig nok

a lack of understanding for this task that he writes:at det tekniske Arbejde er let, men Indstillingen er‘I can write as many of them as you want; it can be

fuldkommen ved Siden af og skøndt han er den, derdone on the way into town in the tram or on the train’

har komponeret de bedste større Ting er hans Melodi-– Well, it’s perfectly true that the technical side is easy,

er de ringeste, ja, nogle af dem var ligefrem slette. Jeg

but that attitude is completely off-target, and althoughnævner ikke hans Navn da han ellers er mig en af dehe is someone who has composed the ﬁnest large-scale

mest sympatiske Musikere og Mennesker bl. de yngre.

things, his melodies are the weakest; in fact, some ofHan forstaar dog efterhaanden. [...]

them are simply bad. I’m not going to name him, be-

Vi har vist tidligere talt sammen om disse

cause I ﬁnd him otherwise one of the most sympathet-enkle Melodiers Væsen og Hensigt og det er jo virkelig

ic musicians and human beings of the younger genera-ejendommeligt og lærerigt, at medens man i større

tion. I’m sure he’ll understand eventually. [...]

Ting, hvor man giver sig hen i sin Fantasi og Tempe-

We have probably previously discussed theramentets Udfoldelse, godt kunde tænke sig noget

nature and purpose of these simple melodies, andandet, eller kunde være kommet til – uden at skade

it is really curious and instructive to ﬁnd that while

Helheden – at berøre noget andet end det der tilsidst

in large-scale things, where you give yourself over to

kom til at staa, saa kan, i disse enkle Melodier det

the unfolding of one’s fantasy and temperament, onehele ødelægges ved en eneste forkert Tone og der hø-

could easily imagine something other – or you could

rer den ﬁneste Smag og en egen endnu navnløs Evne

happen to (without damaging the overall effect) touch

til at opnaa den rette Afbalancering.”

350

on something other than what you eventually settle
on, in these simple melodies the whole thing can beCarl Nielsens 16 bidrag til samlingen er veldokumen-

destroyed by a single bad note, and it takes the ﬁnest

teret i den efterladte korrespondance mellem ham

taste and a special, as yet unnamed, gift to ﬁnd theselv og Riis-Magnussen. Til at begynde med var det

352

meningen, at han kun skulle sætte musik til 4-5 styk-

right balance.”

ker, “men saa blev han [Riis-Magnussen] ved, paa sin
351

Den præ-Nielsen’s 16 contributions to the collection are well-

elskværdige Maade, at bede mig om ﬂere.”

documented in his correspondence with Riis-Magnus-

cise datering af hovedparten af Carl Nielsens bidragsen. Initially it was thought that he should make four

fremgår af hans dagbogsoptegnelser og den nævnte

or ﬁve settings, “but then he [Riis-Magnussen] begankorrespondance med Riis-Magnussen:353

in his amiable manner to ask me for more.”The

precise dating of the majority of Nielsen’s contribu-

350 Brev af 7.6.1926 til William Behrend.
351 Brev fra Carl Nielsen til Irmelin og Eggert Møller
af 7.8.1926.

tions may be followed in his diary annotations and in
his correspondence with Riis-Magnussen:

352 Letter of 7.6.1926 to William Behrend.
353 Letter from Nielsen to Irmelin and Eggert Møller
of 7.8.1926.

Carl Nielsen Udgaven CN 00051

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8.5.

“I kølende Skygger”

8.5.

“Har I nu Tænder i Riven sat”

10.5.

“Den Magt, som gav mig min lille Sang”

8.5.

“In shadows so bracing”

11.5.

“Nu spinder vi for Dittemor”

8.5.

“Now, did the rake get its latter prong”

15.5.

Foraarshymne (“Vaaren, Vaaren er i Brud”)

10.5.

“This force which gave me my little song”

17.5.

“Hver har sit”

11.5.

“We’re spinning now for Lizzy Lass”

18.5.

“Jeg er saa glad i Grunden”

15.5.

Springtime (“Springtime, springtime breaking

19.5.

“Den gamle Husmand”

through”)

5.5.

“Jeg kører frem gennem Straalefryd”

17.5.

“You and I, everyone must qualify”

23.5.

“En Sømand med et modigt Bryst”

18.5.

“I’m really so delighted”

30.6.

“Morgenhanen atter gol”

19.5.

“An old smallholder at his ground”

3.7.

“Ind under Jul”

5.5.

“I drive along in a splendent spell”

7.7.

“Dannebrog, vift med Din Vinge”

352

353

354

23.5.

“A sailor with a plucky breast”

30.6.

“Morning cock again did crow”

Hertil kommer to sange, som allerede havde været

3.7.

“Nigh to Noel, how very sad”

publiceret før, nemlig “Spurven sidder stum bag

7.7.

“Dannebrog, ﬂag in a ﬂutter”

355

Kvist” (nr. 185, 370, 407) og “Grøn er Vaarens Hæk”
(nr. 188, 348, 403) og endelig “Undrer mig paa”

In addition there are two songs that had already pre-(nr. 406), hvis tilblivelsesomstændigheder ikke erviously been published, namely “Sparrows hushed be-nærmere kendt.

hind the bough” (Nos. 185, 370, 407) and “Springtime

Blandt disse 16 sange er fem, som udelukken-

hedge is green” (Nos. 188, 348, 403) and ﬁnally “Won-de kendes fra den enstemmige udgave; det drejer sig

der whatever I get to see” (No. 406), of whose origins

om nr. 405, 406, 409, 414 og 415.
Carl Nielsen var særlig glad for “I kølende

nothing further is known.
Among these 16 songs ﬁve are known exclu-

Skygger” (nr. 408),

354

mens han gerne havde udeladt

sively in the single-part edition; these are Nos. 405,

Bjørnsons “Den Magt som gav mig min lille Sang” (nr.

406, 409, 414 and 415.

415),

355

Nielsen was especially fond of “In shadows so
356

bracing” (No. 408),

whereas he would happily haveleft out Bjørnson’s “This force which gave me my little
357song” (No. 415),

but the text volume was so far ad-vanced in production that the pages would have had tomen tekstbogen var så langt fremme i produk-tionen, at den i så fald skulle have været brudt om
igen, og det ville Johan Borup ikke være med til; dettevar også årsagen til at “Den danske Sang er en ung,
blond Pige” (nr. 191, 330) ikke kom med, selv om Carl
356

Nielsen havde fremsendt den til Riis-Magnussen.

be made up again, and Borup was not prepared to doso; this was also the reason why “The Danish song is a

352 Til denne tekst af Ewald havde Laub alleredeskrevet en melodi, trykt i En Snes danske Viser,
1915.
353 Schousboe (1983) og breve fra Magnussen til Carl
Nielsen 6.5., 17.5., 20.5., 5.6., 16.6., 5.7., 19.7.1926(CNA, I.A.b.).
354 Jf. brev af 20.5.1926 fra Riis-Magnussen til Carl
Nielsen (CNA, I.A.b.).
355 Jf. brev af 5.6.1925 fra Riis-Magnussen til Carl
Nielsen (CNA, I.A.b.).
356 Jf. brev af 16.6.1926 fra Riis-Magnussen til Carl
Nielsen (CNA, I.A.b.).

fair young maiden” (Nos. 191, 330) was not included,
358

even though Nielsen had sent it to Riis-Magnussen.

354 Laub had already composed a melody to this text
by Ewald, printed in A Score of Danish Songs, 1915.
355 Schousboe (1983) and letters from Riis-Magnussen to Carl Nielsen of 6.5., 17.5., 20.5., 5.6., 16.6.,
5.7. and 19.7.1926 (CNA, I.A.b.).
356 Cf. letter of 20.5.1926 from Riis-Magnussen to
Nielsen (CNA, I.A.b.)
357 Cf. letter of 5.6.1925 from Riis-Magnussen to Nielsen (CNA, I.A.b.).
358 Cf. letter of 16.6.1926 from Riis-Magnussen to
Nielsen (CNA, I.A.b.).

Carl Nielsen Udgaven CN 00051

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Komponisten var i det store og hele tilfreds
med sin indsats, hvad der ses af følgende brev til Carl
Johan Michaelsen:
On the whole the composer was happy withhis efforts, as may seen from the following letter to“Af disse Melodier hører, efter min ringe Mening, nog-

Carl Johan Michaelsen:

le til de bedste jeg hidtil har skrevet og jeg tænker atgive dem ud som Sange med Klaver i samme Skikkelse“These melodies include, in my humble opinion,

357

omtrent som ‘Viserne’ –”some of the best I have composed to date, and I’m
thinking of publishing them as songs with piano in359

roughly the same form as the ‘Score of Songs’ –”Som anført i ovenstående brev ønskede Carl Nielsen sangene udsat for sang og klaver og udgivet på
358

samme måde som En Snes danske Viser;og også en
359

Ingen

As stated in the above letter, Nielsen wanted to set

sangaften med de nye viser ønskede han sig.

these songs for voice and piano and have them pub-af delene blev dog til noget, selvom han rent faktisk

360

lished in the same way as A Score of Danish Songs;

udarbejdede kladder til versioner for sang og klaver af

and he also wished to have a song evening with the

følgende sange fra Borups sangbog:

new tunes.

361

None of these things came to pass,

however, even though he did indeed make drafts for“Morgenhanen atter gol” (nr. 401, 279)

voice and piano versions of the following songs from“I kølende Skygger” (nr. 408, 266)

Borup’s Danish Songbook:“Den gamle Husmand staar” (nr. 410, 264)
“Hver har sit, du har dit” (nr. 411, 265)

“Morning cock again did crow” (Nos. 401, 279)

“Jeg kører frem gennem Straalefryd” (nr. 412, 263)

“In shadows so bracing” (Nos. 408, 266)

“Har I nu Tænder i Riven sat” (nr. 416, 283)

“An old smallholder at his ground” (Nos. 410, 264)

“Og jeg vil drage fra Sydens Blommer” (nr. 421, 239)

“You and I, everyone must qualify” (Nos. 411, 265)

“Ind under Jul, hvor er det trist” (nr. 404, 280)

“I drive along in a splendent spell” (Nos. 412, 263)
“Now, did the rake get its latter prong” (Nos. 416, 283)

B. Enkeltsange (nr. 417-423)“The South I’m leaving” (Nos. 421, 239)

Tre af disse sange (nr. 417, 420 og 423) er udeluk-“Nigh to Noel, how very sad” (Nos. 404, 280)

kende overleveret i manuskript. Vuggevise (“Sov minlille, min dejlige Dreng”, nr. 417) er muligvis til en

B. Separate songs (Nos. 417-423)

tekst af Carl Nielsen selv. Der er formentlig tale om

Three of these songs (Nos. 417, 420 and 423) survive

en tidlig sang, idet den er overleveret i samme manu-

only in manuscript. Lullaby (“Sleep my lad now, myskript som den tidlige violinsonate fra begyndelsen

lovely, my tot”, No. 417), is possibly to a text by Nielsen

af 1880’erne.

himself. This is presumably an early song, since it is420) er forskellig fra den melodi, han skrev til samme360“Guds Fred er mer end Englevagt” (nr.

found in the same manuscript as the early violin so362

nata from the beginning of the 1880s.

“God’s peace

357 Brev til C.J. Michaelsen af 31.5.1926.
358 Jf. brev af 21.8.1928 fra Wilhelm Hansen til Carl
Nielsen (Wilhelm Hansens Arkiv, 1928, Nielsen(A-G. 83)).
359 Jf. brev af 5.6.1926 fra Riis-Magnussen til Carl
Nielsen (CNA, I.A.b.).
360 Se CNU IV/1.

is more than angel guard” (No. 420) is different from359 Letter to C.J. Michaelsen of 31.5.1926.
360 Cf. letter of 21.8.1928 from Wilhelm Hansen to
Carl Nielsen (Wilhelm Hansens Arkiv, 1928, Nielsen, (A-g. 83)).
361 Cf. letter of 5.6.1926 from Riis-Magnussen to Carl
Nielsen (CNA, I.A.b.).
362 See CNU IV/1.

Carl Nielsen Udgaven CN 00051

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tekst til Salmer og aandelige Sange (nr. 56), idet det dog
ikke lader sig afgøre, hvilken af de to melodier, derer den tidligste. Den tredje sang, “Velkommen Lærkethe melody he wrote to the same text for the Hymnslil” (nr. 423), er i manuskriptet dateret 23. december

and Spiritual Songs (No. 56), though it has not been

1928. De øvrige ﬁre sange blev alle trykt. “Vi frie Folk

possible to determine which of the two settings is the

fra Norden” (nr. 418) er komponeret i 1908; melodien

earlier. The third song, “My welcome, little lark!” (No.

er identisk med nr. 247 (“Du frie, danske Tunge”) og423), is dated in the manuscript 23 December 1928.

blev trykt i Enstemmige Sange til Brug for Højskoler, Gym-

The remaining four songs were all printed. “We freenastik og Skytteforeninger fra 1909.

Nordic nation” (No. 418) was composed in 1908; theGymnastiksal (“Ovnekrog, Lærebog” nr. 419)

melody is identical to No. 247 (“Free language of ourger ligesom sangen De unges Sang (nr. 155, 227, 323,

mother”) and was printed in Enstemmige Sange til Brug

360) utvivlsomt af Carl Nielsens naboskab på Vodroffs-

363

361

Student-Tanker i en
362

udsprin-for Højskoler, Gymnastik og Skytteforeninger of 1909.

vej 53 i København til N.H. Rasmussens gymnastikin-

Student Thoughts in the Gymnasium (“Inglenook, printed

stitut; den blev trykt som enstemmig sang i fjerde,book” No. 419)

364

undoubtedly has its origins, like thefemte og sjette udgave af Gymnastikhusets sangbog

Song of the Young (Nos. 155, 227, 323, 360), in the fact

Syng! Marschsange. Udgivet af N.H. Rasmussen (Gymnastik-when Nielsen lived at Vodroffvej 53 in Copenhagen hehuset, Vodroffsvej) og Alfred Nielsen fra henholdsvis 1911,

was a neighbour of N.H. Rasmussen’s gymnastics in-1912 og 1914.

stitute; this song was printed as a single-line song in

Den enstemmige version af “Og jeg vil drage

the fourth, ﬁfth and sixth editions of the gymnastics

fra Sydens Blommer” (nr. 421) stammer som nævnt

house’s songbook, Syng! Marschsange. Udgivet af N.H.

ovenfor fra Borups sangbog fra 1916 (også for sang og

Rasmussen (Gymnastikhuset, Vodrofsvej) og Alfred Nielsen of

klaver; se nr. 239).
“Vaaren, Vaaren er i Brud!” (nr. 422) blev med

1911, 1912 and 1914, respectively.
The single-line version of “The South I’m

underlagt dansk og latinsk tekst trykt i Arosia;

363

det

leaving” (No. 421) originates, as mentioned above, in

er som nævnt i det foregående den samme melodi

Borup’s Danish Songbook of 1916 (also for voice and pi-

som “Frydeligt med Jubelkor” (nr. 207, 347, 387), blotano; see No. 239).

i en anden oversættelse af Martin Børups gamle latin-“Springtime, springtime breaking through”(No. 422) was printed with Danish and Latin underlaid text in Arosia;

365

ske tekst “In vernalis temporis” (se oversigt i forbindelse med nr. 387).

as mentioned in the previous sec-tion, this is the same melody as “Jubilation, shouts of

361 Senere udkom den i Metodisk Sangbog efter Formel2
metoden, 1912 (PR 84 ), genoptrykt 1928.
362 Teksten af Ernesto Dalgas (1871-1899) havde været
trykt i Dansk Skytte-Tidende, 20.4.1893.
363 Arosia, 1/1 (1921).

glee” (Nos. 207, 347, 387), only with a different translation of Martin Børup’s old Latin text, “In vernalis temporis” (see also summary in connection with No. 387).

363 It later appeared in Metodisk Sangbog efter Formel2
metoden, 1912 (PR 84 ), reprinted 1928.
364 The text, by Ernesto Dalgas (1871-1899), had been
printed in Dansk Skytte-Tidende, 20.4.1893.
365 Arosia, 1/1 (1921).

Carl Nielsen Udgaven CN 00051

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V. APPENDIKS (nr. 424-431)
Nr. 424 Den 25. maj 1893 noterede Carl Nielsen i sin

V. APPENDIX (Nos. 424-431)

dagbog: “Componerede Jacobsens Solnedgang paany”.
Bag dette lapidariske notat ligger den ganske bemær-No. 424 On 25 May 1893 Nielsen noted in his diary:

kelsesværdige kendsgerning, at den unge fremstor-“Re-composed Jacobsen’s Sunset”. Behind this lapidary

mende komponist – året efter at han havde publiceret

comment lies the remarkable fact that the young, on-en sang til J.P. Jacobsens Solnedgang i sin første offent-

ward-driving composer – a year after having publishedliggjorte sangsamling opus 4 – endnu engang havdea song-setting of Jens Peter Jacobsen’s Sunset in his

kastet sig over dette digt. Denne anden version kendes

ﬁrst published collection of songs, Op. 4 – once more

imidlertid kun som en ikke helt entydig blyantskladde

engaged with this poem. However, this second version

med ufuldstændig vokaltekst (se faksimile s. 177-178).

is only found as a not unambiguous pencil draft withincomplete vocal text (see facsimile, pp. 177-178).

Nr. 425, 426 “Stille, Guds Folk, o bøj dig ned” og “O,
du Guds Lam! med Korsets Skam” udgør to forkastede

Nos. 425, 426 “Stille, Guds Folk, o bøj dig ned” andsalmer fra samlingen Salmer og aandelige Sange. Begge“O, du Guds Lam! med Korsets Skam” are two rejecteddisse salmer foreligger kun som ufuldstændig blyants-

items from the collection Hymns and Spiritual Songs.

kladde (se faksimile i Sange 3 s. 286-287).

Both these hymns are found only as incomplete pencil drafts (see facsimile in Songs 3, pp. 286-287).

Nr. 427 “Underlige Aftenlufte!” er Carl Nielsens første, men forkastede forsøg på at komponere musik til

No. 427 “Odd and unknown evening breezes!” isOehlenschlägers digt Hjemvee. Sangen blev til mandag

Nielsen’s ﬁrst, rejected attempt at music to Oehlen-den 14. december 1914, og samme dag noterede Carl

schläger’s poem, Homesickness. The song was composed

Nielsen i sin dagbog: “Melodi til ‘Underlige Aften-on Monday 14 December 1914, and on the same day

lufte’ (N 1) (ikke god)”.

Nielsen noted in his diary: “Melody for ‘Odd and un-held med sig, da han komponerede den endelige me-

o

366

o

364

Dagen efter havde han mere

The next

lodi til denne tekst (nr. 90, 163, 309, 345). Første ver-day he had better luck when he composed the deﬁni-

sion foreligger kun som ufuldstændig blyantskladde

tive melody to this text (Nos. 90, 163, 309, 345). The(se faksimile s. 156-157).

known evening breezes!’ (N 1) (not good)”.

ﬁrst version is found only as an incomplete pencil
draft (see facsimile, pp. 156-157).

Nr. 428 Impromptu (“De skal rejse”) er overleveret sammen med Emilie Demant Hatts manuskript til erin-

No. 428 Impromptu (“De skal rejse”) survives together

dringsbogen Foraarsbølger. Der er tale om “en spøgefuld

with Emilie Demant Hatt’s manuscript to her bookAfskedshilsen” til en ung kvinde, som i nogle dage hav-of memoirs, Foraarsbølger. This is a “a playful depar-de været på besøg i Selde, hvor Carl Nielsen holdt som-

ture greeting” to a young woman who for some days

merferie hos sin ungdomskæreste Emilie Demant.

365

had been visiting Selde, where Nielsen was spending
his summer holiday with his childhood sweetheart

364 Schousboe (1983), s. 394.
365 Hatt (2002), s. 59-60.

367

Emilie Demant.

366 Schousboe (1983), p. 394.
367 Hatt (2002), pp. 59-60.

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Nr. 429 “En svunden Dag” har Carl Nielsen nedskrevet
den 20. februar 1890 i en stambog tilhørende Agnes
Bauditz. I en del af sin konservatorietid (fra 1885) boNo. 429 “En svunden Dag” was written down by Niel-

ede Carl Nielsen hos Agnes Bauditz’ familie i Frede-sen on 20 February 1890 in a family album belonging

riksborggade 48, 3.sal. Her ﬁk han kost, vask og logi

to Agnes Bauditz. For part of his time at Copenhagenfor 19 kr. om måneden mod at undervise datteren

Conservatoire (from 1885) Nielsen lived with Agnes

Agnes i violin og klaver. Samtidig blev han en nær ven

Bauditz’s family at Frederiksborggade 48, third ﬂoor.

af huset, hvor også ﬂere af hans studiekammerater fra

Here he received board, laundry service and lodgings

konservatoriet kom til at få deres gang.

366

Teksten er de tre første linjer af J.P. Jacobsens

for 19 kroner per month, in return for teaching Agnes
the violin and piano. At the same time he became

digt En svunden Dag, og den 4 takter lange sang med

a close friend of the household, where in addition

klaverakkompagnement må betragtes som en hilsen

several of his fellow students from the conservatoire

til stambogens ejer. Denne har under sangen siden

368

noteret datoen for Carl Nielsens død.

were regular visitors.

The text consists of the ﬁrst three lines of Jens
Peter Jacobsen’s poem En svunden Dag, and the four-

Nr. 430 “Disse djærve Hammerslag” er skitseret gan-bar song with piano accompaniment must be consid-

ske sparsomt med blyant på trykforlægget til Sympho-

ered as a greeting to the owner of the family album.

nisk Suite opus 8 fra august 1894. Over de første ﬁreUnderneath the song she later entered the date of

takter er noteret begyndelsen af teksten fra Lysalfs

Nielsen’s death.

Sang i Holger Drachmanns melodrama Vølund Smed367

fra efteråret 1894.

Året før havde Carl Nielsen kom-

No. 430 “Disse djærve Hammerslag” is quite sparsely

poneret musik til et andet melodrama af Drachmann,sketched in pencil on the printer’s copy of the Sym-nemlig Snefrid, og det er sandsynligt, at han i den

phonic Suite Op. 8 of August 1894. Above the ﬁrst four

forbindelse har læst ﬂere af Drachmanns tekster medbars Nielsen notated the beginning of the text of

henblik på at sætte musik til. Der kendes dog ikke

Lysalfs Sang from Holger Drachmann’s melodrama,

andre melodier fra Carl Nielsens hånd til andet fra

369

Vølund Smed, of autumn 1894.

The previous year

Vølund Smed end denne lille skitserede sang.

Nielsen had composed music for another melodramaby Drachmann, namely Snefrid, and it is probable that

Nr. 431 “Der er i Amsterdam” er noteret på bagsiden

he in that connection read several of Drachmann’s

af et håndskrevet menukort fra Restaurant van Laartexts with a view to musical setting. However, no mel-

Amsterdam, dateret den 13. maj 1920. På dette tids-

odies by Nielsen are known to anything from Vølund

punkt deltog Carl Nielsen i en musikfestival i Amster-Smed apart from this little sketched song.
366 Lisbeth Ahlgren Jensen, “Agnes Bauditz’ stambog”, Magasin fra Det Kongelige Bibliotek, 17/2
(2004), s. 37-50; Schousboe (1983), s. 8.
367 Stykket havde premiere på Det Kongelige Teater
13.3.1898.

No. 431 “Der er i Amsterdam” is notated on the backof a handwritten menu from Restaurant van Laar, Amsterdam, dated 13 May 1920. At this time Nielsen was
taking part in a music festival in Amsterdam in con-

368 Lisbeth Ahlgren Jensen, “Agnes Bauditz’ stambog”, in Magasin fra Det Kongelige Bibliotek, 17/2,(2004), pp. 37-50; Schousboe (1983), p. 8.
369 The play had its premiere at the Royal Theatre on
13.3.1898.

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dam i forbindelse med en længere rejse, der udover
Amsterdam bragte ham til Spanien, Paris, London og
Budapest.
nection with an extended trip that also took him to370

Spain, Paris, London and Budapest.

The text to “Der368

Teksten til “Der er i Amsterdam” er for-mentligt forfattet af komponisten selv eller sammen
med en af hans rejsekammerater, Vera og Carl Johaner i Amsterdam” was presumably either written by

Michaelsen, Julius Röntgen, som han boede hos, eller

the composer himself or together with his travelling

Emil Telmányi der under festivalen opførte Carl Niel-

companions, Vera and Carl Johan Michaelsen, Julius

sens violinsonate nr. 2 sammen med pianisten Artur

Röntgen, with whom he was staying, or Emil Telmányi,Schnabel. Der er sandsynligvis tale om en morsomhed

who performed Nielsen’s Violin Sonata No. 2 during

byggende på teksten til “Der er i Himlen en Dreng saa

the festival, together with pianist Artur Schnabel. Thissmuk” fra Johan Ludvig Heibergs vaudeville Aprilsnar-

is probably a jeu d’esprit based on the text of “Der er irene fra 1826, hvor hver anden linje ligeledes lyder

Himlen en Dreng saa smuk” from Johan Ludvig Hei-“tro du mig, tro du mig”.

369

berg’s vaudeville Aprilsnarrene of 1826, in which every
371

other line likewise begins “tro du mig, tro du mig”.

English translation by David Fanning

368 Schousboe (1983), s. 428-434.
369 Danmarks Melodibog, bd. V, nr. 37, København[1931] anfører følgende melodikilde til Heibergs
tekst: “Ich kenn’ ein Mädchen zart und fein”.
370 Schousboe (1983), pp. 428-434.
371 Danmarks Melodibog, vol. V, No. 37, Copenhagen[1931] quotes the source for the melody of Heiberg’s text thus: “Ich kenn’ ein Mädchen zart
und fein”.

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152

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MS 33 2098 (“How wonderful to ponder”, No. 50). The melody,clefs, and key signatures in the top staff are in Nielsen’s hand.
Later Paul Hellmuth added clefs and key signatures to the bottom staff and the harmonisation of the whole song. The bars
framed in red later became part of the ﬁnal version, while theother bars were replaced by Nielsen’s own harmonisation as seenin Nielsen’s ﬁnal fair copy (cf. facsimile p. 154). Thus Nielsen harmonised the two introductory bars, Hellmuth the six following
bars, and Nielsen the ﬁnal four bars.

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MS 33 2098 (“Forunderligt at sige”, nr. 50). Melodistemmen og
højre hånds nøgler og fortegn er noteret af Carl Nielsen. Herefter
har Paul Hellmuth tilføjet venstre hånds nøgler og fortegn samt
harmoniseringen af hele sangen. Takterne indrammet med rødt
indgik senere i den endelige version, mens de ikke-indrammede
takter blev erstattet af Carl Nielsens egen harmonisering, såledessom det fremgår af den endelige renskrift i Carl Nielsens hånd(se faksimile s. 154). Således fremstår salmen med de to indledende takter i Carl Nielsens harmonisering, herefter seks takter
harmoniseret af Paul Hellmuth for at slutte af med ﬁre takter
harmoniseret af Carl Nielsen.

153

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MS 33 2072 (“How wonderful to ponder”, No. 50). Nielsen’s faircopy. As seen in the facsimile on p. 153, the harmonisation wasmade in close collaboration with Paul Hellmuth.

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MS 33 2072 (“Forunderligt at sige”, nr. 50). Renskrift af Carl Nielsen. Som det fremgår af faksimile s. 153 er harmoniseringen sket
i et tæt samarbejde mellem Paul Hellmuth og Carl Nielsen.

154

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MS 33 2091 (“God’s peace is more than angel guard”, No. 56).
Nielsen wrote the melody, clefs, key signatures and time signature in pencil and then sent the sheet to Paul Hellmuth. On thisoccasion the composer wrote a short greeting on the verso of the
sheet, mentioning a performance of three of the chorales in Our
Saviour’s Church. The manuscript may thus be dated March 1914
(cf. letter to Anne Marie Carl-Nielsen of 9 March 1914). Then Hellmuth added the harmonisation in ink and returned the manuscript to the composer.

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MS 33 2091 (“Guds Fred er mer end Englevagt”, nr. 56). Carl Nielsen har skrevet melodien, nøgler, fortegn og taktart med blyant,hvorefter han har sendt nodebladet til Paul Hellmuth. I den
forbindelse har komponisten skrevet en kort hilsen på verso-siden, hvor der refereres til en opførelse i Vor Frue Kirke af tre af
koralerne. Bladet kan således dateres til marts 1914 (jf. brev til
Anne Marie Carl-Nielsen, 9. marts 1914). Derefter har Hellmuthtilføjet harmoniseringen med blæk og returneret bladet til komponisten.

155

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No. 427

MS 33 2104 (“Odd and unknown evening breezes!”, Nos. 90, 427).
The ﬁrst discarded and incomplete version of the song (No. 427)
was composed 14 December 1914, whereas the ﬁnal version(No. 90) was composed the following day. In b. 15 it may be seen
how Nielsen has worked on the melody of the ﬁnal version (seePreface, pp. 50-63 and 150).

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MS 33 2104 (“Underlige Aftenlufte”, nr. 90, 427). Underlige Aftenlufte”, den første forkastede ufuldstændige version (nr. 427) er
komponeret 14.12.1914 mens den endelige version (nr. 90) er
komponeret dagen efter. Bemærk hvorledes Carl Nielsen i denendelige version har arbejdet med melodistemmen i t. 15 (se forord, s. 50-63 og 150).

156

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No. 90

MS 33 2104 (verso)

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157

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MS 33 2195 (“Look about one summer day”, No. 106). Composed
24 December 1914. Nielsen changed the piano accompaniment– presumably at the suggestion of Thomas Laub. Thus the ﬁnal
version of bb. 2, 4, 6 and 7 are added at the bottom of the page.
Sketches for “There once lived a man in Ribe town” (No. 109) appear on staves 7-9 and 11-12.

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MS 33 2195 (“Se dig ud en Sommerdag”, nr. 106). Komponeret24.12.1914. Carl Nielsen har (muligvis på foranledning af ThomasLaub) omarbejdet klaverakkompagnementet. Den endelige version af t. 2, 4, 6 og 7 ﬁndes således tilføjet med blyant nederst på
siden. På systemerne 7-9 og 11-12 ﬁndes skitser til sangen “Derboede en Mand i Ribe By” (nr. 109).

158

22/02/09 8:25:48

MS 33 2004 (recto) and MS 33 2005 (“Ne’er may his words be forsaken!”, No. 223). Two versions of the song, both of which werecomposed in 1893 (see Preface, p. 77).

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CNU_III_7_indmad.indb 159

MS 33 2004 (recto) og MS 33 2005 (“Aldrig hans Ord kan jeg glemme!”, nr. 223). To versioner af sangen, begge komponeret i 1893
(se forord, s. 77).

159

22/02/09 8:25:56

MS 33 2005 (recto)

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CNU_III_7_indmad.indb 160

160

22/02/09 8:26:04

MS 33 2005 (verso)

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161

22/02/09 8:26:11

MS 33 2049 (“A fair and lovely land”). Sketch of an incomplete version of “3die Verse” (third stanza) for voice and strings (see Preface,p. 100).

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 162

MS 33 2049 (“Der er et yndigt Land”). Skitse til ufuldstændig satsaf “3die Vers” for sang og strygere (se forord, s. 100).

162

22/02/09 8:26:19

11

6

MS 33 2251 (Three Motets, Opus 55, Nos. 297-299). Score, autograph, fair copy (Source B). The fair copy was given to Mogens
Wöldike in 1929 before the ﬁrst performance (see Preface,
pp. 119-120).

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MS 33 2251 (Tre Motetter, opus 55, nr. 297-299). Partitur, autograf,
renskrift (kilde B). Denne renskrift blev aﬂeveret til Mogens Wöldike i 1929 inden førsteopførelsen (se forord, s. 119-120).

163

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CNU_III_7_indmad.indb 164

37
25

33
20

29
16

Carl Nielsen Udgaven CN 00051

164

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CNU_III_7_indmad.indb 165

48

61

56
44

52
41

Carl Nielsen Udgaven CN 00051

165

22/02/09 8:26:59

CNU_III_7_indmad.indb 166

89

85

76

71

81
66

Carl Nielsen Udgaven CN 00051

166

22/02/09 8:27:19

5

10

19

23

15

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167

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CNU_III_7_indmad.indb 168

45
34

41
31

37
27

Carl Nielsen Udgaven CN 00051

168

22/02/09 8:28:32

6

12

30

24

18

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169

22/02/09 8:29:00

CNU_III_7_indmad.indb 170

64
47

58
42

52
36

Carl Nielsen Udgaven CN 00051

170

22/02/09 8:29:17

CNU_III_7_indmad.indb 171

98
82

92
76

87
70

Carl Nielsen Udgaven CN 00051

171

22/02/09 8:29:34

CNU_III_7_indmad.indb 172

110

116

122
104

Carl Nielsen Udgaven CN 00051

172

22/02/09 8:29:52

MS 33 2231 (“Gone are the days, they’re past and olden” No. 312).
Score, autograph, fair copy (Source B); the harmonisation differsfrom the printed edition (Source A) but seems to be based on the
piano version, which was originally published in 1917 in Højskolebladet (No. 116). Deviations from Source A are listed in Editorial
Emendations and Alternative Readings.

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MS 33 2231 (“Udrundne er de gamle Dage” nr. 312). Partitur, autograf, renskrift (kilde B); harmoniseringen afviger fra den trykte
udgave (kilde A) men ser ud til at være udarbejdet på baggrund
af den klaverversion, som oprindeligt blev trykt i 1917 i Højskolebladet (nr. 116). Afvigelser fra kilde A er dokumenteret i Editorial
Emendations and Alternative Readings.

173

22/02/09 8:30:09

MS 33 2020 (“Bid me to live”, No. 315). Autograph, fair copy;
for male choir, 1887-1888. The handwriting of the very young
Nielsen.

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MS 33 2020 (“Byd mig at leve”, nr. 315). Autograf, renskrift; formandskor, 1887-1888. Eksempel på Carl Nielsens nodeskrift som
ganske ung.

174

22/02/09 8:30:16

MS 33 2249 (Lay of the Nordic Harp, No. 332). Autograph, fair copy;
for male choir, 1931, bb. 1-13. The handwriting of the 65 years
old Nielsen.

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CNU_III_7_indmad.indb 175

MS 33 2249 (Kvadet om Nordens Harpe, nr. 332) Autograf, renskrift;
for mandskor, 1931, t. 1-13. Eksempel på Carl Nielsens nodeskriftsom 65-årig.

175

22/02/09 8:30:25

MS 33 2022 (Children’s Welfare Day Song, No. 388). Autograph, faircopy; composed in 1911. Nielsen’s text on top of the page: “DearVilhelm Rosenberg! Here is the little melody which before sheleft home I have asked to curtsey nicely to you and give her Dad’s
compliments to you, thanking you because you’ll look after her.
As you will see, the child is no astonishing beauty, but an honest
soul who will believe everything that is said to her and will doeverything which she is asked to do as well as she can. Yours affectionately Carl Nielsen”.

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MS 33 2022 (Børnehjælpsdagens Sang, nr. 388). Autograf, renskrift;
komponeret 1911. Carl Nielsens tekst over sangen lyder: “KæreVilhelm Rosenberg! Her er saa den lille Melodi, som jeg harpaalagt, inden hun gik hjemme fra, at neje pænt for Dig og hilse
fra Far og sige Tak fordi Du vil tage Dig af hende. Barnet er jo ikke
nogen indtagende Skønhed, men hun er en lille ærlig Sjæl, dertror alt hvad man siger til hende og gjør hvad der bliver hende
paalagt saa godt hun kan. Hilsen fra Din hengivne Carl Nielsen”.

176

22/02/09 8:30:33

MS 33 2004 (verso) and 33 2202 (Sunset, No. 424). Composed
25.5.1893, not identical with Op. 4, No. 1 (see Preface, p. 150).

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MS 33 2004 (verso) og 33 2202 (Solnedgang, nr. 424). Komponeret25.5.1893, ikke identisk med op. 4, nr. 1 (se forord, s. 150).

177

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MS 33 2202

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178

22/02/09 8:30:51

PERSONLISTE / LIST OF NAMES
Hakon Andersen (1875-1959)
komponist, organist | composer, organ player
Johannes Andersen (1890-1980)
komponist, hornist | composer, horn player
Agathe Backer, se Grøndahl
Mogens Ballin (1871-1914)
kunsthåndværker | craftsman
Harald Balslev (1867-1952)
højskoleforstander | principal of Ubberup HighSchoolAgnes Bauditz (1875-1947)
pianist | pianist
Julius Bechgaard (1843-1917)
komponist | composer
Ellen Beck (1873-1953)
sanger | singer
Holger Begtrup (1859-1937)
højskoleforstander | high school principal
William Behrend (1861-1940)
musikhistoriker | music historian
Rudolph Bergh (1859-1924)
zoolog, komponist | zoologist, composer
Anton Bloch (1862-1936)
bratschist | viola player
Johan Borup (1853-1946)
højskoleforstander | high school principal
Julius Borup (1865-1938)
violinist | violinist
Margrethe Boye-Jensen
sanger | singer
Anders Brems (1877-1974)
sanger | singer
Gerda Brems (1880-1967)
pianist, organist, gift med Anders Brems | pianist,
organ player, married to Anders Brems
Georg Bruun (1861-1945)
rektor ved Kolding Latinskole | principal of Kolding
Grammar School
Valdemar Brücker (1852-1929)præst | vicar
Kaj Oluf Buch (1895-1972)
vicedirigent for Studenter-Sangforeningen |assistant conductor of Studenter-Sangforeningen
Magda Bugge (1846-1923)
norsk komponist | Norwegian composer
Anne Marie Carl-Nielsen (1863-1945)billedhugger, gift med Carl Nielsen | sculptor,
married to Carl Nielsen

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Christian Christiansen (1884-1955)
pianist | pianist
Jacob Deichmann Dahl
norsk komponist | Norwegian composer
Emilie Demant, se Hatt
Ludvig Dolleris (1886-1962)
komponist, forfatter | composer, author
Margrethe Dorph-Petersen, se Nielsen
Paul Dukas (1865-1935)
fransk komponist | French composer
Irmelin Eggert Møller, f. Carl-Nielsen (1891-1974)
Carl Nielsens datter | Nielsen’s daughter
Sigfús Einarsson (1877-1939)
islandsk komponist | Icelandic composer
Adolph Frederik Elmquist (1788-1868)
bladudgiver, bogtrykker | newspaper publisher,
printerPeder Friis
musikforlægger | music publisher
Gustav Fröding (1860-1911)
svensk digter | Swedish poet
Niels W. Gade (1817-1890)
komponist | composer
Aage Garde (1876-1955)
teaterdirektør, skuespiller | theatre manager, actor
Robert Gilﬁllan (1798-1850)
engelsk digter | English poet
Louis Glass (1864-1936)
komponist, pianist | composer, pianist
Agathe Backer Grøndahl (1847-1907)
norsk pianist, komponist | Norwegian composer,
pianistCarl Johan Grum (1897-1975)
organist og kantor ved St. Mortens Kirke i Næstved| organ player and cantor at St Morten’s Church,NæstvedJulie Gundestrup, se Rosenberg
Sophus Albert Emil Hagen (1842-1929)
komponist, musikhistoriker | composer, music
historian
Asger Wilhelm Hansen (1889-1976)
musikforlægger | music publisher
Johannes Hansen (1879-1949)lærer | teacher

179

22/02/09 8:30:59

L.J. Hansen
formand for Danske Læreres Sangkor | chairman of
the Danish Teacher Association’s Choir
Knud Harder (1885-1967)
komponist, organist og digter | composer, organ
player and poet
Emil Hartmann (1836-1898)
komponist | composer
Johan Peter Emilius Hartmann (1805-1900)
komponist | composer
Emilie Demant Hatt (1873-1958)
maler, forfatter | painter, author
Gunnar Hauch (1890-1937)
musikkritiker | music critic
Johan Ludvig Heiberg (1791-1860)
forfatter | authorPeter Heise (1830-1879)
komponist | composer
Vilhelmine (Ville) Heise (1838-1912)
gift med Peter Heise | married to Peter HeisePaul Hellmuth (1879-1919)
komponist og organist | composer and organ
playerRobert Henriques (1857-1914)
musiker, forfatter | musician, author
Vihelm Herold (1865-1937)
sanger | singer
Gustav Hetsch (1867-1935)
musikskribent | music writerLouis Hornbeck (1840-1906)
komponist, kantor ved Trinitatis kirke | composer,
cantor at Trinitatis Church
Richard Hove (1892-1965)
musikhistoriker, musikkritiker | music historian,music critic
Georg Høeberg (1872-1950)
violinist, dirigent ved Det Kongelige Teater |violinist, conductor at the Royal Theatre
Finn Høffding (1899-1997)
komponist | composer
Knud Haase
komponist, sanger, musiklærer i Hellerup |composer, singer, music teacher in Hellerup
Pál Isólsson (1893-1974)
islandsk komponist, organist | Icelandic composer,
organ player
Poula Jacobsen
sanger | singer
Olfert Jespersen (1863-1932)
komponist, dirigent | composer, conductor

Carl Nielsen Udgaven CN 00051

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P. Johannesen
sognefoged i Skibby | parish executive ofﬁcer in
SkibbyAdolfa Johnsson, se SiemsenFrank Jæger (1926-1977)
forfatter | author
Albert Jørgensenlærer, sangbogsredaktør | teacher, songbook editor
Kaj Jørgensen
anmelder i Højskolebladet | reviewer at
Højskolebladet
Viggo Kalhauge (1840-1905)
komponist | composer
Axel Kjerulf (1884-1964)
musikkritiker | music critic
Charles Kjerulf (1858-1919)
komponist, musikkritiker | composer, music critic
Halfdan Kjerulf (1815-1868)
norsk komponist | Norwegian composer
Gunder Knudsen (1884-1947)
komponist, sanger | composer, singer
Henrik Knudsen (1873-1946)klaverpædagog | piano teacher
Lars Knudsen (1868-1948)
skuespiller, sanger | actor, singer
Regnar Knudsen (1882-1959)
lektor ved Aarhus Katedralskole | teacher at
Aarhus Cathedral School
C. Kofoddirigent | conductor
Johanne Krarup-Hansen (1870-1958)
sanger | singer
Evald Tang Kristensen (1843-1929)
folkemindesamler, forfatter | folklorist, author
H.E. Krøyer (1798-1879)
komponist | composerPeter Erasmus Lange-Müller (1850-1926)
komponist | composer
Rued Langgaard (1893-1952)
komponist, organist | composer, organ player
Thomas Laub (1852-1927)
komponist, kirkemusiker | composer, church
musician
Margrethe Lendrop (1873-1920)
sanger | singer
Salomon Levysohn (1858-1926)
operarepetitør | opera rehearser
Otto Lindblad (1809-1864)
svensk komponist | Swedish composer
Hans Lützhöft
sanger | singer

180

22/02/09 8:31:00

Carl Madsen (1878-1954)
sanger | singer
Otto Malling (1848-1915)
komponist | composer
Knud Malmstrøm (1894- ??)organist ved Esajaskirken i København (1925-1953),
ansat ved Birkerød Statsskole | organ player at
Esajas’ Church, Copenhagen (1925-1953), employedat Birkerød Statsskole
Hermann Mannheimer (1867-1942)
bankdirektør, ven af Carl Nielsen | bank director, afriend of Nielsen’s
Lisa Mannheimer (1876-1957)
gift med Hermann Mannheimer | married toHermann Mannheimer
Anton Melbye (1861-1929)
forfatter, teaterdirektør | author, theatre director
Albert Meyer (1839-1921)
sanger, sanglærer | singer, singing masterCarl Johan Michaelsen (1855-1963)
ven og elev af Carl Nielsen | a friend and pupil of
Nielsen’s
Vera Michaelsen (1893-1974)
ven af Carl Nielsen, gift med Carl Johan Michaelsen| a friend of Nielsen’s, married to Carl Johan
Michaelsen
Sextus Miskov (1857-1928)
komponist, sanger | composer, singer
Frederik Moth (1861-1930)
litteraturhistoriker | literary historian
Anna E. Munch (1877-1960)
maler | painterSigurd Müller (1844-1918)
rektor for Kolding Latinskole 1886-1901 | principalof Kolding Grammar School, 1886-1901
Eggert Møller (1893-1978)læge | doctor
Holger Møller (1861-1917)
cand.polyt, violinist | Bachelor of Engineering,
violin player
Ida Møller (1872-1947)
sanger | singer
Irmelin Eggert Møller, se Eggert
Marie Møller (1862-1941)
gift med Holger Møller | married to Holger Møller
Bodil Neergaard (1867-1959)
godsejer | landed proprietor
Margrethe L.C. Nielsen, f. Dorph-Petersen (1875-1962)
sanger | singer
Oda Nielsen (1851-1936)
skuespiller, sanger | actor, singer

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CNU_III_7_indmad.indb 181

Helge Nissen (1871-1926)
sanger | singer
Einar Nørby (1896-1983)
sanger | singer
Anker Olesensanger | singer
Otto Olsen (1882-1946)
komponist, pianist, cellist | composer, pianist,
cellistJeppe Marius Ottosen (1862-1936)
dirigent for Danske Folkekor (1921-1935) |conductor of Danske Folkekor (1921-1935)
Frede Schandorf Petersen (1921-)
forfatter, redaktør | author, editor
Johannes Poulsen (1881-1938)
skuespiller, instruktør ved Det Kongelige Teater |actor, stage director at the Royal Theatre
Vilhelm Poulsen (1875-1930)
hornist, dirigent | horn player, conductor
Anders Rachlew (1882-1970)
norsk-dansk pianist | Norwegian-Danish pianist
Julius Rasmussen
medlem af Dansk Korforenings bestyrelse | memberof the board of Dansk Korforening
Niels Hansen Rasmussen (1854-1924)
gymnastiklærer, cand. polyt. | gymnastics teacher,
Bachelor of EngineeringThøger Rasmussen (1884-1972)
sanger | singer
Emil Reesen (1887-1964)
komponist, dirigent | composer, conductor
Adolf Riis-Magnussen (1883-1950)
komponist, organist | composer, organ player
Oluf Ring (1884-1946)
komponist | composerLine Rode (1869-1936)
gift med Ove Rode | married to Ove Rode (seeAuthor Index)
Georg Daniel Rogberg
revisor i den svenske telegrafstyrelse, gift med Alma
Rogberg | accountant at the Swedish telegraphmanagement, married to Alma Rogberg (see Author
Index)
Julie Rosenberg, f. Gundestrup (1871-1948)
sanger | singer
Margrete Rosenberg (1864-1956)
musiklærer i Fredericia | music teacher in
Fredericia

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Vilhelm Rosenberg (1862-1944)
komponist, dirigent | composer, conductor
Leopold Rosenfeld (1849-1909)
komponist, sanglærer | composer, singing master
Orla Rosenhoff (1844-1905)
komponist, lærer i musikteori | composer, music
theory teacher
Julius Röntgen (1855-1932)
hollandsk pianist, komponist | Dutch pianist,composerViggo Sanne (1840-1896)
sanginspektør | inspector of music
Carl Maria Savery (1897-1969)
komponist, pianist, musikpædagog | composer,
pianist, music teacher
Poul Schierbeck (1888-1949)
komponist | composer
Sylvia Schierbeck (1896-1977)
sanger, gift med Poul Schierbeck | singer, married
to Poul Schierbeck
Axel Schiøler (1872-1930)
dirigent | conductor
Gustav Schlyter (1885-1941)
stadsombudsmand i Helsingborg | Swedish State
Ombudsman in Helsingborg
Florent Schmitt (1870-1958)
fransk komponist | French composer
Artur Schnabel (1882-1951)østrigsk-amerikansk pianist | Austrian-North
American pianist
Frederik Schnedler-Petersen (1867-1938)
dirigent | conductor
Alette Schou (1847-1939)
pianist | pianist
Elisabeth Schousanger | singer
Johann Abraham Peter Schulz (1747-1800)
tysk-dansk komponist | German-Danish composer
Hugo Seligmann (1877-1947)
komponist, musikkritiker | composer, music critic
Emil Selmar (1879-1977)
pianist | pianist

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CNU_III_7_indmad.indb 182

Louis Felix Siboni (1862-1935)
musikhandler | music dealer
Adolfa Siemsen, f. Johnsson (1867-1961)
pianist, musikpædagog | pianist, music teacher
Haraldur Sigurdsson (1892-1984)
pianist | pianist
Henry Skjær (1899-1984)
sanger | singer
Niels Skovgaard (1858-1938)
maler, billedhugger | painter, sculptor
Wilhelm Stenhammar (1871-1927)
svensk komponist, dirigent | Swedish composer,
conductor
Alexander Stoffregen (1884-1966)
pianist | pianist
Anne Marie (Søs) Telmányi, f. Carl-Nielsen (1893-1983)
Carl Nielsens datter, maler | Nielsen’s daughter,
painter
Emil Telmányi (1892-1988)
ungarsk-dansk violinist | Hungarian-Danish
violinist
Albert Thura (1700-1740)
præst, litteraturhistoriker, rektor for Kolding
Latinskole 1723-1726 | vicar, literary historian,principal of Kolding Grammar School, 1723-1726
Aage Thygesen (1892-1979)
sanger | singer
Emilie Ulrich (1872-1952)
sanger | singer
Aksel Wellejus (1924-)
dirigent, lærer ved Det Kongelige Danske
Musikkonservatorium | condutor, teacher at Det
Kongelige Danske Musikkonservatorium
Christoph Ernst Friedrich Weyse (1774-1842)
komponist | composer
Mogens Wöldike (1897-1988)
dirigent, organist | conductor, organ player
Thorvald Aagaard (1877-1937)lærer på Ryslinge Højskole, komponist | teacher at
Ryslinge High School, composer

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E NG L I S H

T R A N S L AT I O N S

O FSunset (“Clouds ﬂoating by you, cyclades of beauty”)

4

1. Once there was a king with treasures,
Wealthy he had always been;
Asked about the very ﬁnest,
His reply was: – Irmelin.
Irmelin Sunshine, Irmelin Rose,
Irmelin, everything delightful.

3

2. All the glitt’ring helmets mirrored
How her colours played, in fact,
And with rhyme and rhythm aplenty
Would her name conclude a pact.
Irmelin Sunshine ...

In Seraglio Garden (“Roses lower their heads, weighed
down by fragrant dew”)
Roses lower their heads, weighed down
By fragrant dew,
A swaying of pines in the sultry air
Is never new.
Fountains are gushing their silver ﬂow
In drowsy calm,
And all minarets point at the land above
To love Islam,
The crescent adrift in its even way,
Crossing the even blue,
As it kisses roses and lilies now,
Each little ﬂower true
In seraglio garden,
In seraglio garden.

3. Scores of mighty eager suitors
Entered courtyards of the king,Courted there with tender manners
And let ﬂow’ry fair words ring:
Irmelin Sunshine ...
4. But the princess chased them all out(With her heart as cold as steel,)Blamed one’s farcical deportment,
Sneered at someone else’s zeal.
Irmelin Sunshine ...
5

If day has gathered all its woe
And wept it into dew,
Then night reveals the heavens, though,With boundless sadness, silent woe.

1. I dreamed up to now as good as each night
My passion was what you needed,

CNU_III_7_indmad.indb 183“If day has gathered all its woe”
slowlyTo Asali (“I dreamed up to now as good as each night”)

Carl Nielsen Udgaven CN 00051

Irmelin Rose (“Once there was a king”)
high-spirited

2. There she will throne reclining, almost dreaming,
There I shall kneel near her quite silently,
There I forget, as left by you in seeming,
Life and the world and God’s eternity.
One thing only ﬁlls me, raises and enchants me,
Passion’s timeless gospel in Asali’s name.
2

S O NG S

2. Now dream is my torment so sad with fear,
Your heart wishes me to be banished;
Oh, how the day then is bright and clear
As dark stole away and vanished.

MUSIC TO FIVE POEMS BY J.P. JACOBSEN OP. 4

1. Clouds ﬂoating by you, cyclades of beauty,
Roses that rock on the breast of a glare,
Sprinkled by the spheres’ cascades, a-sounding ﬂuty,
Sunlight in foam t’ward thy coast, in your air.
None but you deserves to bear the name and title,
Namely this: Asali’s happy, gleeful land.

N I E L S E N’S

Ah, how the day then was dark with frightAs gloom had again receded.

Texts above the ﬁrst stanza in brevier are translations ofNielsen’s performance indications in the original source.

1

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And one by one
And two by two
The guardian spirits will emerge
From heaven’s vague and distant verge.
On high, over worldly dolour and pleasure,With candle stars in hand, at leisure,
Striding along they cover the heavens.
They change their bearing,
And sorrow seizes ...
Strange is the ﬂaring
In space, in icy breezes,
Candle stars and their ﬂickering ﬂashes.

SONGS AND VERSES BY J.P. JACOBSEN OP. 6
6

8

Silken shoe over golden last!
My betrothed’s a damsel fast!
My betrothed’s a lovely damsel fast!
No one is like her on God’s earth and henceforth,No, none at all, that is sure.
Like sky in the south and like snow in the north
She is pure.
But there is joy from the earth in my heaven,
And ﬂames rising up from my snow.
Ne’er a rose of summer is quite as red
As her beloved eye is black ...
9

2. You’re driving the golden wheel of luck
So fast it’s beyond sensation;
But sorrow’s toilsome and heavy load
Awaits us, though, at debarkation.
There trickles woe ...
3. You live in desire like half a dream, –But grief has no ways of dreaming:
With eyes awake it keeps watching you,Eyes so absorbingly streaming.
There trickles woe ...

The Seraphim (“The seraphim have rolled awaycelestial bodies”)
The seraphim have rolled away
Celestial bodies,
And folded dark aroundOur planet’s shoulders,And sprinkled dew
On every hill and valley,
And in the east have hung the golden cloudbanks.
Each thing is ready,Earth and heav’ns awaiting,
And sun unseen abiding, blushing deeply,
The signal from the throne of God the Father.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 184“You suffer throughout an age of pain”
1. You suffer throughout an age of pain
For what was a moment’s pleasure;
However you smile in a ﬂeeting while,
Tears are still beyond all measure.
There trickles woe, trickles wrath from ruby roses.

Genre Painting (“In the tower sat the page”)
In the tower sat the page,
Gazed into the distance,
Tried to write of love and rage
And of their persistence,
Gathered and deleted, altered,:/:sat and faltered:/:Now with stars and now with roses –Nothing, nothing rhymed with :/:roses:/: –Then in despair put the horn to his lips,
Squeezed his good sword in ire,
Blew so hard, his love ﬂew out
O’er the furthest shire.

7“Silken shoe over golden last”

4. No smile ever lighted your day to bed,
But tears might achieve this wonder;
For smiles are sheen just, of that which is,Tears, shadow of that which went under.
There trickles woe ...
10 Lay from ‘Mogens’ (“Once I had, oh once I had adaughter’s son, oh yea!”)... and then he sang at the top of his voice without
a clue about what he was singing:
1. Once I had, oh once I had a daughter’s son, oh yea!
And much money, much money in a coffer,

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And noiselessly it clenches. And slumb’ring,from below
A mystic revelation emerges and entrenches
This dream that never blenches, in gloomy,
distant woe.

Presumably I’d also had a daughter lass, oh yea!
and house and home and lands not on offer.
2. Once I had, oh once I had a daughter lass, oh yea!
and house and home and lands not on offer,
Presumably I’d also had a sweetheart, yea, oh yea!
With money, much money in her coffer

2. In this old world of silence where dolour evanesces
Like pleasure, like successes, for thousand yearsof night,
Have seer minds beheld its contents in eager
guesses,Relieved it of distresses, uplifted art’s delight.
Our dead are here forever. From realm of deaththey’re sending
Their messages unending that we won’t understand.
Companion, let us linger at lake-shore, drinking,spending
A little while, attending its solace, sad, but grand!

SIX SONGS TO TEXTS BY LUDVIG HOLSTEIN OP. 10
11 Apple Blossom (“You apple blossom ﬁne and white!”)1. You apple blossom ﬁne and white!
Who made your light a happy one?
Ah, I’m the sweetheart of the sun!
[Ah, sweetheart of the sun]
2. Where did you get this purple glow
That burns your skin as if you bled?
Ah, I’m a sunlit newlywed!
[A sunlit newlywed]

13 Summer Song (“Filled with ﬂowers ﬂushes”)
1. Filled with ﬂowers ﬂushes
Branch of apple tree.
Deep and blue the heavens,
Warm and pure and free.
Through the blooming ﬂowers
Honey bee is humming,
Giddy from its load –Ah, the summer powers!
Dreamily you’re coming
Down along the road?

3. And blest by kisses of my groom
I’m living in his breath of May
One short and joyful springtime day.
4. And once his last and heartfelt kissHas brushed my cheek in afterglow,
I whisper then: I love you so!
5. And closing up and bowing down
I strew the grass in mild distress
With snowy bloom, my bridal dress – –[I’m the sweetheart of the sun!
A sunlit newlywed!]

2. Flowers’ pleasant fragrance
Carries far away.
Cuckoo in the distanceCalls the livelong day.
Listen, from the dingle
Where the runnel’s running,ringing out of sight,
Nightingale, though single,
Trills its long and stunningSong throughout the night!

12 Lake of Memories (“Tread softly, my companion”)
1. Tread softly, my companion, I know your heartis crying
As quietly we’re sighing at lake of memories.
We’re always taken back, though, to places
signifying
That grief and joy are hieing to sink wheresilence is.
On even lake reposes this hand that fully quenches.

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CNU_III_7_indmad.indb 185

3. Westerly the breezes
Through the corn and grass.
Rolling plains bring promise,
Riches they amass.

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Showers, gently vented
Over gold that’s growing,
Falling from she sky –Pollen smoke is scented
As its waves are ﬂowing
Over ﬂow’ring rye.

I hide our bliss behind a frown,
Till sun goes down, till sun goes down.
15 Tonight (“The light from heaven, golden white”)
1. The light from heaven, golden white.
The woodland still, penumbrous.
And round about the garden quiet trees
are standing, slumbrous.
And dew is falling balmy-coolon cheek and chin to serry –Tonight it would be good, my soul,
to reach the Stygian wherry!

4. Ah, the summer powers.
Full of longing love,
Dream of beauty rises
Into clouds above.
White as swans it’s beaming
Like a beauteous jewel
In the depth of blue –All the earthly dreaming
Of deep joy’s renewal
Never can come true.

2. Tonight it would be good, my soul,
if you at last were gliding
T’wards sea of glitt’ring light,
on soft and rapid pinions riding!
And fade away in silent peaceand luminous endeavour
And die therein – released from dreamand from remembrance, ever!

14 Song behind the Plough (“In shining sun I steer myplough”)(14: stanzas 1-2, 4)
1. In shining sun I steer my plough.
I’m nodding to the greenwood now,
Where you, my fortune, hide today.
My heart will laugh and hide away
And hide its bliss behind a frown,
Till sun goes down, till sun goes down.

16 Greeting (“You idle bay that stretches”)
with youthful emotion

1. You idle bay that stretches in sunshine, undulating,
The slender, snow-white terns diving in withutmost grace –Farewell you little steamer that hies me by, apace,
And greet that fair-haired lady who’s at the pier,awaiting!

2. My fortune wakens young and new
Like skylark song to morning dew,
Each evening an embellishment,
Though just for me as relish sent.
The bliss of nightly scenery
Is day-long, golden secrecy.

2. And tell her that her sad eyes, dejected, butredeeming,
Will haunt my mind forever! And ask them what
they want!
Do tell me if they weep as the ship has ceased its
jaunt!
And tell them that I’ll kiss them whenever I’m
dreaming!
(Farewell you little steamer that hies me by, apace,
And greet that fair-haired lady who’s at the pier,awaiting!
And tell her that her sad eyes will haunt my mind
forever!
Tell them that I’ll kiss them whenever I’m dreaming!)

3. My fortune tells without a word.
It sparkles deeply rich, unstirred,
In glances that she sends to me.
My fortune! I attend to thee
And me and all our blissful easeThat no one sees, that no one sees.
4. I plough up ﬁelds of fertile mould,
But no one sees the shining gold
That in my heart would hide away.
I hide myself, I hide my play,

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THREE SONGS FROM HOLGER DR ACHMANN’S PLAY
‘SIR OLUF, HE RIDES – ’

My dew-laden strings hot and steady.
So wild is my way!

17 Little Helen (“Little Helen shoulders her peasant’s coat”)

19 Dancing Ballad (“Sir Oluf, your table has fork anddish”)

1. Little Helen shoulders her peasant’s coat,
This farm may no longer bind her;
She sets off with haste o’er the drawbridge way,
And looks ne’er a moment behind her.
My hope is like leaf in springtime.

1. Sir Oluf, your table has fork and dish,So relishing, embellishing a sight!
Fall to and do justice to pork and ﬁsh,
And show us a man of delight,
Hi-ho! Hi-ho!
And when at the ﬂoor of the ﬂeshpot at last
With turf as a lock we are lying,
We’ll never again taste the treats of the past,
Our joint every worm will be vying.
Be pleased with your feeling of body and soul,
Be pleased with a thirst like a bottomless hole.
Sir Oluf, ﬁll up your bowl!

2. My gallant companion’s in dance with elves
Where forest goes down the valley,
But I shall go to the girls’ fairy moundAnd there with my loved one I’ll dally.
My hope is like leaf in springtime.
3. This elf girl’s naught but a web of mist
That drifts before chill winter breezes,
But I am the live living ﬂesh and blood,
With the warmest of hearts, when it pleases.
My hope is like leaf in springtime.

2. Sir Oluf, your conjugal waiting bed
Quite presently so pleasantly is made!
Pretend you’re a young callow boy, newlywed,
Not brawny and bearded and staid,
Hi-ho! Hi-ho!
With hangings then drawn for the groom andhis bride,
To consummate what was intended,
Then see how the curtains are thrusted aside
When amorous pleasure has ended!
Now hasten and take up your sword for a stroll,
Then saddle your steed, ride away and stay whole!
Sir Oluf, ﬁll up your bowl!

4. Awake now, young sir, for the sun is in sight,
The daybreak cockcrow is clever,“You’re sleeping with Little Helen now –You ought to have slept there ever.”My hope is like leaf in springtime.
18 Sir Oluf’s Song (“Gone is the daytime”)
1. Gone is the daytime, the sun-heated day,
The mist on the meadow is falling;
But evening cool is a ﬂeeting delay,
It’s gone e’er the night is calling.
So wild is my way!

3. Your consort at table, just let her be,
Too magging and too nagging to be had!
On horseback you’re sitting refreshed and free,A man independent and glad.
Hi-ho! Hi-ho!
If then a fair maiden, adorning a gate,
Discovers this horseman appearing,
Then ask, Will you love me, my love, till late
In greenwood? You look so endearing!
Be pleased with a thirst like a bottomless hole,
Be pleased with your feeling of body and soul.
Sir Oluf, ﬁll up your bowl!

2. This veil of mist thickens, becoming a lake
Whose ripples all seem to be sleeping;An elf girl will stand there when hazes break,Her bosom a-heaving and sweeping.
So wild is my way!
3. Gone is the daytime, so warm, so long!
The scent of the meadow is heady,It’s burning in my heart, and it’s burning in
my song,

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CNU_III_7_indmad.indb 187

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22 John the Roadman (“Who’s there behind the shelter”)

STROPHIC SONGS OP. 21

with an even stride

20 “Shall ﬂowers, then, all wither?”
1. Who’s there behind the shelterWith rags around his hands,
A home-made leather eye-patch,
And shoes in lashèd bands?
It’s poor old John the roadman,
Starvation’s gloom ahead,Who turns with his old hammer
Unyielding stones to bread.

1. Shall ﬂowers, then, all wither
Before they have sprung out?
Shall springs, then, freeze up thither
Before they have sung out?
2. From purple, God has woven,With gold, the thread of life;
Thereby the gloom was cloven
With love’s delight and strife.

2. You wake one early morning
At dawn’s ﬁrst light, and then
You hear the hammer ringing
Again, again, again,
It’s poor old John the roadman
With old and ailing bones,
He hacks till sparks ﬂy wildly
From moistened morning stones.

3. Oh, take my hands so yearning,
Let them with yours entwine,
And feel how blood is burning
My fervent, youthful wine.
4. And feel my heart a-glowing
Quite closely, that’s my plea,
It burns to death, bestowing
Its blazes, bright and free.

3. When plodding to the city
Behind the farmer’s yoke,
You chance upon an oldster
Whose eyes are all a-soak, –It’s poor old John the roadman,
His legs strapped up with hay,
Who barely ﬁnds a shelter
To keep the frost at bay.

Helge Rode
21 Hawk (“All hail, you hawk over ﬁr-tree crest”)
1. All hail, you hawk over ﬁr-tree crest,
The proudest of birds in bearing!
With valiant glare to the east and west,
Your ﬂight is feral and daring.

4. If then you are returning
In bluster you detest,
The evening star is shiv’ring
From cold above southwest;
You hear the hammer ringing
Quite close behind the pair, –It’s poor old John the roadman
At work, still sitting there.

2. You cleave the breezes with all your will,
While greenish eyes are a-scouting,
The ﬂesh of the foe you will cut and kill,
Safe-conduct denied, never doubting.
3. You are a brigand of brutal luck
As God and man see your slaughters;
You look in contempt at the drake and the duckReﬂecting their ﬂab in the waters.

5. He levelled thus for others
The rough and rocky way,But drawing near to yuletide,
His arm gave up the fray;
Yes, that was John the roadman,His hammer dropped from sight.
They bore him ‘cross the heath on
A cold December night.

4. I hardly enjoy your murderous claw,
But sough of ﬂight, your dominion,
An untamed glimpse from your eyrie or
The sunlight glint on your pinion.
Jeppe Aakjær

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We’ve come here from ‘Manymilesaway’
We’re on our way to ‘Afar’.
Give shelter!

6. It’s standing at the churchyard –An old and rotten board;
And all its paint is peeling,It’s very badly shored.
Now here lies John the roadman.
His life of stones is done,
But on this paltry grave here
They gave him ne’er a one.

2. Geese go around with no shoes, where
The two of us call home,
And houses stand out all night there
For they’ve no place to roam.
Give shelter!

Jeppe Aakjær

3. Our grange in ’Manymilesaway’,
You can believe it’s not plain,
Walls are made stout by steady wind,
The cottage is roofed by the rain.
Give shelter!

23 “Lay down, sweet ﬂower, your head”
quietly, sincerely

1. Lay down, sweet ﬂower, your head,
Bow it in leafage from sight,
Blissfully, closed corolla,
Wait for the peace of the night.

4. And if don’t think it’s gospel,
My daughter then you can speir,
Who never has had any parents
And neither can speak nor can hear.
Give shelter!

2. Nightfall, the gentle, the silent,
Cometh, oh bend in your doze.
Slumber in golden starlight,
Blessed and well in repose.

Johannes V. Jensen
26 Good Night (“Now I shall wish you good night”)

3. Sleep like a child who, softly
Rocked in her mother’s arm,
Wakens a little, feeling
Smilingly mother’s calm.

to be performed with a certain tired and grim humour

1. Now I shall wish you good night
For I’m worn out all right.
And now you may threaten or sue me,
But sleep will now slip through me.

Johannes Jørgensen
24 “The larks are coming”
wild, jubilant

2. I slept in ditch before
For weather’s wide-open door,
I’ve seen in faintness a leaven:
Our Lord’s, his seventh heaven.

1. The larks are coming, the larks are coming!
Our hearts rejoice in the sun and air.
The larks are coming, the larks are coming!
The patient turns in her creaky chair.

3. But now I shall blissfully sleep
In my own black room, not too deep,In earth that is friendly only
To one who is sleepy and lonely.

2. The larks are coming, the larks are coming!
Though snow is squinting from every ditch;
The larks are coming! The marks are coming
That rosebuds will burst – how rich, how rich!

4. Farewell to you all, thanks a lot
To good folks and those who’re not.
No doubt you’re sick of my lying,
A weakness I’m not denying.

Jeppe Aakjær
25 Vagrant (“Give shelter for two poor creatures”)
1. Give shelter for two poor creatures,
For awful dying, we are;

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5. I’m leaving no debt behind,
It all is paid, you’ll ﬁnd.
The blows that I usually smother
My foe with, he’ll get from t’other.

28 “Yea, take us, our mother”
1. Yea, take us, our mother, in your heartening
embraceAnd bless all your sons who bless your name andyour grace:
Denmark, Denmark, millenium that came
Crowned with splendid, promising hope andwith fame!
Spring over land
And spring over sea!
Ev’ry man andEach maid full of glee!
Spring in your heart so that from death it is free!

6. For now I shall blissfully sleep
In my own black room, not too deep,In earth that is friendly only
To one who is sleepy and lonely.
7. Farewell, my ﬁddle and bow.
Now I shall sleep, just so.
If someone will swap it for sadness,
Then he can have all my gladness.

2. Yea, hear us, our mother who loved us uttermost,
We lay a ﬁlial chain around your crop-yielding coast.
Call us, call us! If you are deep in need,
Round your holy womb we shall gather, indeed!
Spring over land ...

8. Farewell and thanks, understood!
I gave to you what I could.
You didn’t care for my music?
Too bad – but now I am too sick.
Johannes V. Jensen

3. Accept us, dear mother, as blood come from yourblood!
The passion of our early years is like a rising ﬂood!
Denmark, Denmark! – soil that will endure!
Digniﬁed we’ll wander in ancestors’ spoor!
Spring over land ...

FIVE SONGS FROM L.C. NIELSEN’S PLAY ‘WILLEMOES’
27 “Native land! Native land!”the people pass

1. Native land! Native land!
Country parts manly with passion
Ne’er in expiry turn ashen,
Ne’er in expiry turn ashen,
Safe is your strand,
Yea, safe is your strand.

29 “Follow he who follow can!”
1. Follow he who follow can!
Hear the native land a-calling!
King and country, it’s our plan
To defend them or be falling!
Take up arms, each able man!
Follow he who follow can!

2. Native land! Native land!
Thanks for the peace that you gave us,
Gladly we die if they brave us;
Gladly we die if they brave us!
Safe is your strand,
Yea, safe is your strand.

2. Take up arms, prepare, unite!
Not some foreign land to plunder;
Denmark’s foe, come here to ﬁght,
Danish valour is a wonder!
Up and ﬁght now, Danish man!
Follow he who follow can!

3. Native land! Native land!
Now let the god of war motion,
Danes do not wince in devotion,
Danes do not wince in devotion!
Safe is your strand,
Yea, safe is your strand.

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3. Seas surrounding Denmark,
You wide, maternal seas,
Stubborn like our willpow’r,
As proud as our successes,– Coat of mail impresses
Like clamour on the strand.
Glory shall we bring this old land!
We’ll wander your way ...

30 Vibeke’s Song (“I met with a song as I walked on myway”)
dreamily1. I met with a song as I walked on my way
One morning in May, one morning in May.
Its scent that of sweetness, its tone that of light,
It trembled like dew on a violet in fright.
2. I revelled in song as I walked on my way
One morning in May, one morning in May.
It ﬁlled up my heart so it swelled up with zest,
It rose and it ﬂew, then it ﬂed from my breast.

FOUR SONGS FROM LUDVIG HOLSTEIN’S PLAY ‘TOVE’
32 “We, sons of the plains carry dreams in our minds”(se also 204)

3. I look for a song as I walk on my way
Each morning in May, each morning in May.
Oh, how can I ﬁnd what pursued me before?
My sorrowful heart sits dressed up at its door.

1. We, sons of the plains carry dreams in our minds,
They turn into song when awaking,
They rise from the summer night mist of all kinds,
Like skylark with ﬂight in the making.
They burst out from longing as spring’s on the run
Like hyacinth, crocus unfolding,
And break like victorious smiles of the sun
The cold grip that winter is holding.

31 Song of the Sea (“Seas surrounding Denmark”)
1. Seas surrounding Denmark,Our wide, maternal seas,
Blue as eyes of children,
A bland and dreamlike story,
Currents in their glory
Caressing from southwest.
Longing for you lives in our breast!
We’ll wander your way,Your laws we shall feel;We’ll plough your rolling meadowsWith every even keel.
You bear us o’er the oceans
As far and wide we will.
We love you mighty seas,
Belonging to you still.

2. Then over the redolent acres they sail
Where seeds out of spring soil can trickle,
And passing the forest they gleefully hail
The bay that is twinkling, but ﬁckle;
They tremble in April’s most wonderful tone,
In gardens and woods they would quaver
While taking the hopeful delight from unknown
And reticent smiles as a favour.
3. This is not the morning, this is not the night,
Odd thoughts in the brume have been shaken.
A heart will be pounding, and way out of sight
The summer night’s singer will waken.
Sir Oluf rode cross the bridge of elves,
One midsummer’s night; they were sliding,
Four horseshoes all glistening golden themselves– Sir Oluf, say, where are you riding?

2. Seas surrounding Denmark,Our wide, maternal seas,
Grey as our condition,
And green as vows we’ve taken– Gaps from spray unshaken
A-cleaving isle from isle,
Teaching us to die with a smile!
We’ll wander your way …

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4. O, magic of summer night mists of all kinds!
O, memories, tempting, bewitching!
We, sons of the plains, carry dreams in our minds
And know not ourselves when they’re switching.
They’ll wait for the hour when redemption will yield

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A yearning for joining the chorus,
Like larks, nesting hidden in clover-patch ﬁeld
Ere dawn with its ﬁrst light breaks o’er us.

35 Hunter’s Song (“Shooting down from the crest a kite”)
1. Shooting down from the crest a kite
Is painted red by the setting light.
Its beak is amber, like ﬁre its wing
It crosses the sea in a sweeping swing.
Small fry splashes with ﬂashing ﬁns,
So free through the billows he launches.
Hooking its claw the kite begins
And plants it there in his haunches.

33 Fowler Lay (“The woodland birds wag their tails foryou”)
1. The woodland birds wag their tails for you‘Mongst ﬂowers, and ne’er do they slumber,And some of them red, and then some of them blue,
Like velvet and silk quite a number.
Come, purple bird!
Come, smoky blue bird!
Come, snowy white bird,
In the bloom unheard.
(spoken:)
Hush! Hear the pretty, little song
That bees they do sing in the sunshine now.

2. One will frolic, and one will fall,
The larger birds, they feed on the small.
Kite is spreading its wings anew,
It crosses the village and sees the two:One cock pigeon is courting tightEncircles his mate a smidgeon.
Ostentatiously comes the kite,
A widow is Mrs. Pigeon.

34 Tove’s Song (“An angel stood beside me”)
3. One will coo, and another fall,
The larger birds, they feed on the small.
Kite is spreading its wings anew,
It crosses the heather, and proudly, too.
Skylark peals for the sun to set,
While far away rings its trilling.
Evening song makes the kite a threat,
The singer stopped, though unwilling.

1. An angel stood beside me with a rose there in his
hand.
He breathèd on the rose, and it loosened every band,He kissed each of its petals, they opened silently.
Child, now this beauteous rose is laid upon yourbreast by me.
It happened just at daybreak, dearest master.

4. One will twitter, and one will fall,
The larger birds, they feed on the small.
Kite submits to his own true law,
He wrote it, following instinct raw.
Small fry, pigeon and skylark so
Had each its lot from the forces.
Kite has custom for kite to show
How victory follows his courses.

2. Its mother was in Eden, and as the Lord of old
On distant sandy beaches lets this very rose unfold,
Where birds all sing with joy, and the day begins
to dawn
As Adam meets his Eve below the palm tree on thelawn.
It happened just at daybreak, dearest master.
3. And as he ended speaking, he smiled a silent smile
And laid it where my heart can be heard for quite
awhile.
Since then, the scent of roses pervades both hilland daleAnd skylarks sing with pleasure, as in the angel’stale.
It happened just at daybreak, dearest master.

TWO SONGS FROM JEPPE A AKJÆR’S PLAY ‘THE
WOLF’S SON’36 Song of Old Anders the Cattleman (“There is a scrub”)
Rather slowly, but not drawlingly

1. There is a scrub by the winding road,An oaken knot, strained and sodden;

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5. Loosen ties as oppressors bar!
– Now is the time! –Grab your spades and break free and far!
You are thousands as ten they are!
– Now is the time, smallholders!

Poor wretch, ne’er a year ring it was bestowed
And nothing came of its earthly load
Because it too early was trodden.
For we trample each other deep down in dirt.
2. Yea, life’s encouraging ﬁrst-set sprout
Was wasted cruelly and vainly;
Though one of them even so stood out
With steely wood and with fruit about,
Just scrub it became, though, mainly.
For we trample each other deep down in dirt.

HYMNS AND SPIRITUAL SONGS
38 “Ah, my rose will fade away”
1. “Ah, my rose will fade away
ﬁrst to pale, so dark decay!
Blossom of repute,
Milk and blood to boot,Withers now from top to root!”

3. The child that wakes from a dreamy doze,
Wants all the sun can deliver,
But after life’s struggle draws near its close,
To win, then, one sunbeam for his repose,
Imploring his lips will quiver.
For we trample each other deep down in dirt.

March tempo

2. Did you see a faithful mind
Heretofore so unreﬁned?
Things are not too goodIf you never could
Make your order understood.

1. Clamour rises in morning light:
Now is the time!
Hurries by bog and pond in sight,
Whispers at windows at willows’ bright:
Now is the time, smallholders!

3. Read the ﬁrst commandment right:“I’m the Lord, your God of might!”
Thus I stand on highFull of woe am I,
That your grief you can deny.

2. Yokes had father and mother sent
– Now is the time! –Just as yourselves, your children bent,
Likewise the cradle’s mite is spent– Now is the time, smallholders!

4. Is your faith what you forgot?
Who created you, or what?
He, your Maker, may
Know about your way,
Do not grieve, but trust and pray!

3. Land embellished with corn and cows
– Now is the time! –Mud walls put out of sight your spouse
Milking rough-coated goats you house– Now is the time, smallholders!

5. Jesu blood your privilege,
And His spirit held in pledge,
Heaven shall you reach,
Do you doubt His speech
Here are crumbs enough for each?

4. Lazybones marrow-sucked the lot,
– Now is the time! –Countless casks to compel the cot!
What they turned down was what you got;
– Now is the time, smallholders!

6. Read Our Father’s prayer right!
And repeat it day and night!
All things come to thisMay you never miss
These few simple words of bliss.

37 Now Is the Time, Smallholders! (“Clamour rises inmorning light”)

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5. Our Master was proﬁcient,
And said: Do not incite
The wrath of God, omniscient,
The scriptures tell His might

7. Ah, what glory, hope and glee
Has your baptism made you see,Did you know at all
Of that wondrous call
Which by Cov’nant will befall?

6. The Devil whispered sweetly,
Whate’er you see is mine,
But worship me completely,
And henceforth, it is thine!

8. If you at God’s altar rail
Jesu blood and body hail,
It is stake and stone
For God’s church and throne,
Though it’s not for you alone.

7. To this a wrathful answer,
For shame be off, unblessed!
God is the one entrancer,
A short and sharp behest.

9. Open your uneasy mind,
Look, God’s heaven you will ﬁnd!
Saints unfaltering
Hear His angels sing,
Where, one day, you too they’ll bring!

8. The serpent, old as any,
Who slept in heart of Cain,He that allured so many
Shown now but scorn and wane.

10. World, oh world, be lost to view,
Only Jesus be for you!
His be the embrace,
Of your faith and grace,
And your soul its resting-place!

9. God’s angels praised the Master,Come, let us shout with joy!
The serpent met disaster
From Jesus, woman’s boy!

Hans Adolph Brorson

N.F.S. Grundtvig
39 “On moorland barren, level”
40 “This is the day that the Lord did create!”
1. On moorland barren, level
The son of Mary strode,Who met him but the Devil,
Like morning star he glowed.

1. This is the day that the Lord did create!
It is a joy to His servant,This very day He threw wide heaven’s gate,
News thereof Sundays make fervent;
For in its sanctiﬁed feeling,
In resurrection the wond’rous Word,
Brought by The Spirit in grace, was heard:
Now do you know why the pealing?

2. Are you God’s son, the blameless,With famine just ahead,
Then tell these stones, so aimless:
Turn into loaves of bread!

2. Save us, oh Lord, give us fortune and bliss!
Work of today your creation!
Crowds will this evening thank you for this,And for their reincarnation!
Yea, let them worship that pleasant
Spirit of comfort and candid speech,
Blessings aplenty they strive to reach,
Proof of your peace omnipresent.

3. The answer sounded gently:
Of famine not be said!
God’s word is eminently
The living’s blessèd bread. –4. Are you God’s son, the fearless,
Then throw yourself down there!
The angels fair and peerless
Will save you in midair.

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Now, by His side, they’ve reached their best
In celebrations, ever blessed;
The Lamb is there
Of life aware,
As ever host and guest.

3. Father, our Lord, come and visit your church,
Come to us, covered with glory!
Garlands be woven by tongues in their search,
Ardour of hearts tell the story:
Services grow with emotion!
Easter and Whitsun are Christmas-born,
So let the triumph of faith adorn
Marvellously our devotion!

3. Ye corps of giants, brave and bold,
Congratulations thousandfold
That you were here,
But in it clear,
Your faith is now extolled!
Ye who despised all worldly zest,
For evermore do reap the best
Of what you’ve sown
With tearful groan
While angels gaze impressed!
Beat time with palms, raise high your voice,Of empyrean force the choice:
The Lamb, the Lord,
With one accord
In them, let us rejoice!

4. Yes, let them work then, your altar and bath,On these our tongues with affection
So that your Spirit and Word show a path
In their delightful direction!
Sacraments of celebration:
Spirit is better than ﬂesh and blood,
Caring and kind-hearted is our God,
Christ, everlasting salvation!
N.F.S. Grundtvig
41 “The great, white ﬂock begins to show”
1. The great, white ﬂock begins to show
As thousand mountains full of snow,
Where woods aboundWith palm fronds round
The throne. Who are they, though?
They are the band of heroes who
Have undergone distress hereto,
Have laved in blood
From Lamb of God‘Til paradise come true;
As worshippers they all belong
To the incessant, joyful throng
Of God’s desire
In heaven’s choir
Amid the angel song.

Hans Adolph Brorson
42 “There is an earthly prayer”
There is an earthly prayer
Which if you just begin,
Can choke your soul’s betrayer,
Destroying guilt and sin,
God’s kingdom, then descending,
Brings joy and light unending
To us and those we love.
N.F.S. Grundtvig
43 “There is a way from mortals hid forever”
1. There is a way
From mortals hid forever,‘Life’s very way’,Not built by man’s endeavour,
A secret lane
Through bleak domain
To land of life and blissful fountains.

2. Down here they were exposed to scorn!
But see them now in state reborn,
Before the throne
Their crowns are shown,
White mantles every morn!
In truth, their trials were oft so bleakThat ﬂood of tears ran down their cheek;
But God’s concern
At their return
Dried off each salty streak.

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2. Be opened thus,
The woodlands thick and murky,
And carry us

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To understandHis holy will and reach us
With guiding strings,
His spirit brings
Us to Our Father’s host of angels.

On waves untrue and quirky;
The mountain heights
Hell’s glowing lights
Life’s very way can never hinder.
3. For children are
All secret lanes created,
For safety far
At sea, in desert fated,
In creed sublime
At any time,
At noontide not to mention midnight.

N.F.S. Grundtvig
44 “A wondrous isle is the world, indeed”
1. A wondrous isle is the world, indeed:
The largest tree has the smallest seed,
From smallest seed grows the highest top,
With nesting birds where the branches stop.

4. Through earthly mist
This way to heaven’s wonder
Will turn and twist
Mysteriously down yonder;
Like sunlit cloud
Dawn’s golden shroud
Is how the Lord’s way paints each shadow.

2. That tree which almost can touch the sky
Is man-of-God, whose approach is nigh,
The man-of-God’s seed remains the Word,
Of lesser seed not a sound is heard.
3. This comely tree has a splendid top,
God’s angels ﬂy there and never stop,
We call them heaven’s fair ﬂock of birds,
For nothing but them can ﬁt these words.

5. Too thorny you
Will ﬁnd the lane at places,
But crimson, too,
Like woe with joyful traces;
As Jesus tells,
So solace swells,
While roses heal the thorny scratches.

4. This comely tree bears delicious fruit
With rosy scent that the grapes salute,
No other fruit can command its price,
That golden apple from paradise.
5. This apple holds very sturdily,
A winter fruit for eternity,
And even if it is bit in twain
It just as ﬁrmly will join again.

6. That way we share
To land of hope and glory
With Jesus there,
His words a beaming story;
A guide sufﬁce
To paradise
From whence they came and where their home is.

6. Yea, fruit of blessedness grows thereon,
Its fruit down yonder, the Word, has won,Its dew is spirit, its sap and root
The blood and body our Lord made suit.

7. With Jesus and
His church and congregation
We hand in hand,With child-like dedication
Seek steadily
Lucidity
On high, in this our Father’s dwelling.

7. Let mortals jeer at the little seed
Which ﬁlls in secret this isle, indeed!
This tree needs no worldly sacriﬁce
That bears its fruit in God’s paradise.
N.F.S. Grundtvig

8. As through the land
We go, so God will teach us

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46 “Yea, I shall love Thee, Thou my vigour”

45 “The strain is not too great”

1. Yea, I shall love Thee, Thou my vigour,Support and peace Thou giv’st the heart,
And I shall worship Thee, I ﬁgure,May deed and longing never part,Yea, I shall love Thee, Saviour mine!
Oh Jesus, call me Thine!

1. The strain is not too great, you’ll ﬁnd,
To strive to be a pious Christian spirit;
And, be our nature far from soft and kind
When Christian death we meet, or when we’renear it,
So God ensures the contrite heart, though frail,
Will still prevail.

2. Yea, I shall love Thee, I have thriven
On Thy command, Thy way of life,
Yea, I shall love Thee, Thou hast given
Light to my living without strife,
Yea, I shall love Thee for Thy blood
Has saved me by its ﬂood.

2. Do like a child, go ﬁnd repose
Enfolded safely in the arms of Jesus,
He warms us while His love forever grows,
And as His child will the Redeemer seize us.
Is it so hard when yet He is so near
To hold Him dear?

3. So long wert Thou for me a stranger,
I was to Thou forever dear,Though far from home I roved, a ranger,
It by Thy grace was always near,
The love and peace our homes impart,
Are there just where Thou art.

3. No evil comes from God to you,Your own intent creates all woe and dolour;
So offer God your frightened heart anew,
And He becomes its joyful, true consoler,
Right now give God your will and your intent,
Subservient.

4. Do not reject the child arriving
At home on tired feet, downcast,Who in the world’s brief summer thriving
Through all its splendour see’th at lastThat in Thy fortress can his soul
Have sorrow slaked in whole.

4. In faith, go seek your peace of heart,
In death’s dark vale where nerve and spirit
tighten,Your Father will His certain creed impart,No danger and no storm permit to frighten!
In bitter times, when darkness looms again,
Trust in Him then!

5. Yea, I shall love Thee and adore Thee,My gracious Lord and Brother dear!
Are people ready to abhor me,
And shall I always suffer here,
Yet I shall love Thee, Saviour mine,
Oh Jesus, call me thine!

5. For then your light will rise again,
And after shade of night come sun’s salvation,
What you believed will undisguised remain,
So freely build your hope on God’s foundation!
In Christ you reach a sacred state of mind
Before mankind.

Hans Egede Glahn
47 “Oh Jesus, show me”

6. Rise up, my heart, in hope and trust,
To such a God you must yourself deliver!
Approach, my soul, to pleasant calm, adjustYourself to Jesus as the great forgiver;
When in distress reach out for Him anew,
He’ll cling to you!

1. Oh Jesus, show
Me where to go,
I’ll follow Thee in yearning,
Jesus, from the madding crowd,
Thither and returning!

Hans Adolph Brorson

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6. I know a place where hope turns green
When all is fading here,
His tree on Calvary is seen
To bear its crown all year.

2. Oh Jesus, show
Me where to go
From every empty gladness
So that I’ll no more behold
Misery and sadness.

7. Each ﬂower may, as leafage falls,
Succumb in turning brown,
My true belief in Him enthralls
Like any new-leaved crown.

3. Oh Jesus, show
Me where to go
To heaven’s joyful dwelling,
Earth is to your little ones
Trackless and repelling!
4. Oh Jesus, show
Me where to go;
To heaven let us sally
There to join with cries of joy
In the pious’ rally!

8. Eternal spring, the gift He gave,
Not storm and death anew,
For life emerges from the grave
That Christ has broken through.
C. J. Boye
49 “A holy life, a blessed death”

Hans Adolph Brorson
1. A holy life, a blessed deathWill fondly meet each otherLike warbling bird song, sweet in breath,With sunset glow, its mother;Those two can never separate,
The Holy Ghost does no one rate
Who wants no consecration.

48 “Well on the wane the passing year”
1. Well on the wane the passing year,
Laid waste is nature soon,
Farewell to pleasure loud and clear,
You short-lived summer tune!

2. Thus, having fought the better strife
Undauntedly, then wander
Till end of time this way of life,
That’s seen as sweet up yonder;
He who has served our Lord in truth,
Has done God’s will, e’en from his youth,
In peace he has departed.

2. Soon will we hear the winter sighAs all things fade away!
Let them but wither for on highIs solace every day.
3. The sun may shorten on its course,
And hour of night may grow,God’s arm will never lose its force,His wisdom not its ﬂow.

3. Oh Simeon, you hearty man,
It was your fate and blessing
How you with snow-white hair began
Quite close to death, expressing
Your mind in gleeful springtime song,
That lasts with Him forever, long,
Like birds in grove of rapture.

4. Each leaf may yellow on its stalk,
Each straw may fade and die,God’s love, I know, will never balk,On Him you can rely.
5. I know from where pure joy will stem
When empty ﬁelds lie white,
The choir that sang in Bethlehem
Will evermore delight.

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4. When you took Jesus in your arms
Your faith in Him did harden,
And you could see the coming charms
Of heaven’s promised garden;
You sang, “I travel now in peace

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Their manifest to modelYour service and your guard?

To God in heaven! blest release
Is always in my vision.”

5. The sparrow has its dwelling,
The nestlings to protect;
A martin is a telling
Example in effect;
In holes the beast and creature
Has each its proper nook;
Why should my Saviour feature
A hidden, straw-born look?

5. Now with his peace without a pause
In Jesus must be taken,
And until then heart’s heavy cause
Is mournfully forsaken;
For never is the heart at ease
Before the soul its Saviour sees
And joins in His embraces.
N.F.S. Grundtvig

6. Nay, come! I’ll open gently
My heart and soul and mind,
Then pray and sing intently:
Come, Jesus, come and ﬁnd
It will not suit a stranger,
But you from up above!
You’ll rest here in no danger,
All swaddled in my love!

50 “How wonderful to ponder”
1. How wonderful to ponder,
How strange to think forlorn,
That heaven’s king up yonder
In byre should be born,
The kingdom’s light and glory,
The living God’s own word,
No home with us His story,
In poverty, unheard!

N.F.S. Grundtvig
51 “Peace with you! And with each being!”

2. A pearl is looked for, really,
If ever it is lost;
A diamond tops, ideally,
The crown, at any cost;
One casts a grape, no neverIn dead and withered leaves;
My Lord I watch, however,This hardship He receives!

1. Peace with you! And with each being!
Those are blessings, and in short
He will bind them to far-seeing
Orisons from heaven’s court;
And whate’er the world will utter,
Benedictions end the clutter
In His parish and His church.
2. Peace with you! is His oration
Which all mothers do acclaim,
Giving children new elation
Who were christened in His name;
If at peace with God a sinner,
Then God’s spirit starts an inner
Re-creation of a heart.

3. Why was there not embellishedFor you a royal hall?
Whatever you had relished,
You could have had it all;Why not your birth embolden
Beneath the sun and moon:
A cradle, rich and golden,
With roses overstrewn?

3. Peace with all! the Lord will utter
To His parish and His church,
Hearts do sing while foes will stutter,
Heaven’s dove completes the search,
Of eternal rest it’s cooing
Which is of God’s angels’ doing,
Never tasted, though, the sweet.

4. Wherefore were not distended
The heavens for your tent,
And starlit torches tended
When you to us were sent?
Wherefore with you in swaddle
Was heav’nly host disbarred,

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Sweetly smiling,
Reconciling
Where God’s cradles rock, and thus
Peacefully and pleasing we
Catch a glimpse of heaven’s glee.

4. Now I’m going to my Father,
These were His own words divine,
But my peace I leave, or rather,
Give you, earthly friends of mine;Thus, the peace that He consigned us,
Has the virtues to remind us
Of His peace in life and death.

N.F.S. Grundtvig
53 “Refresh yourself in song”

5. With that peace around the manger
There He lay as angels sang:
Peace has reached a world of danger,
During Christmas night it rang;
With that very peace He’d wander‘Midst wroth enemies down yonder
Where His path was strewn with thorns.

1. Refresh yourself in song
And prayer straight and strong,
In spirit be united
By singing unaffrighted:
Oh Jesus, be our treasure,
Our only prize and pleasure!
2. Betake, oh mournful mind,
Yourself, the crib to ﬁnd,
God’s son we are receiving,
So how can you be grieving?
Oh Jesus ...

6. With that peace, His death defying,
He was hanging on the cross,
Friend and foe alike He, dying,
Prayed for, never at a loss;
With that peace He resurrected,
As a morning gift selected
For His bride in time of strife.

3. Ye elders, gently tend
To Him your bosom friend,
Ye children, sing out clearly
And follow on sincerely:
Oh Jesus ...

7. Peace with you! And with each being!
Thus the Master’s voice was heard,
Peace is found by him who’s seeing
How imbued His peaceful word;
Neither pope, nor any vicar
Grant God’s grace a moment quicker;
Take it thankfully yourself!

4. Each couple must as such
Make young ones seek and touch
This path of glee and rapture,
God’s trusting love to capture:
Oh Jesus ...

N.F.S. Grundtvig
52 “Peace and pleasure”

5. Ye children small, yet blest,
Need never be distressed,
At home and in God’s dwelling
We hear your voices swelling:
Oh Jesus ...

1. Peace and pleasure,
For this treasure
Young ones breaking into tears,
The Creator
Gives us later
Peace and pleasure for the years;
Without them the world would look
To us like a devil’s nook.

6. Compulsion of the Cross
Nor death, the ﬁnal loss,
Can tear us from our Jesus,
His arms forever seize us:
Oh Jesus, be our treasure,
Our only prize and pleasure!

2. Peace and pleasure
Know no measure
As God’s angels sing for us,

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Hans Adolph Brorson

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5. Lord in heaven, we are all
Works of your creation,
You are great, and we are small,
You are our salvation;
Down here you have arrived,
Let us, whene’er revived,
Into the hereafter!
Caring your tears were shed,
Teach us sweet songs instead,And angelic laughter.

54 “Happiness is born today”
1. Happiness is born today,
Heaven’s joyful gladness,
God’s belovèd son will stay
Tender years from sadness;
He who was hideous,Ever fastidious
In his lofty dwelling,
Infant robes now does wear
Lays in a manger bare,Mortal clay foretelling!

Thomas Kingo
55 “God’s angels, unite! sing in chorus your praise!”

2. Born at midnight open-eyed,
Sun and moon created,
He who owns the world so wide,
Was to byre fated;
He who so far up highRides through the starry sky,
In His cradle lying;
He who at doomsday gap
Speaks like a thunder clap,
Listen to him crying!
3. Born is of a virgin fair
Son with will and power:
Roses suddenly, so rare,
Burst on ev’ry ﬂower;
Almighty trinity
Made its divinity
Here below a treasure;
Father our Adam new
Had but in heaven, too,
All of Eden’s pleasure!

1. God’s angels, unite! sing in chorus your praise,
Like the ﬁrst Noel,Of God’s child, the child that was born to amaze:
Of Jesus, our hero, our Saviour!
2. God’s people on Earth! hold this child in embrace,
Like the ﬁrst Noel!
The son of our Father brought heavenly grace:
Our Jesus, our hero, our Saviour!
3. The glory above is all God’s through and throughFor the glad Noel,
We were in his image created anew,
With Jesus, our hero, our Saviour.
N.F.S. Grundtvig
56 “God’s peace is more than angel guard”
1. God’s peace is more than angel guard,
It never takes the foe too hard,
Does gently and in depth its work
In daylight and at midnight murk.

4. On their night watch, shepherds lay
In a ﬁeld of ﬂowers,
From on high came word their way,
Angel song in showers;
Born to the Earth a king,
Heaven’s new birth, we sing,He is the Redeemer,
Guarded by silent mules
Yet He already rules,
Fair as dawn’s red streamer.

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2. It is this peace of life and mind
That in God’s hand your heart will ﬁnd
So that it at expiry’s guile
Defends itself, but with a smile.
3. It is this peace our Saviour found,His sweat ran cold on him when crowned,And, as the death became release,
He left us with His word of peace.

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As you tend to drown,
As you stand dejected,
No repose expected,
Hardship turns you down,
God will thenTake charge again,
Like a burning straw your sorrow
Is no more tomorrow.

4. This word of peace has any soul
In happy christening as its goal,
This word of peace each godly day
All din of battle will allay.
5. You know quite well, God’s holy church!
It is your one and only search
That from your mouth and from your heart
The word of faith must ne’er depart.

4. God, the great creator,
To the weak ones greater,That is what He is.
Should or could you perish
If you always cherish
Living things as His?
Everywhere,
His peace and careWill be rendered by His power,
Like a needed shower.

6. For as God’s son arrived with peace,
He asked for faith that would not cease;
For this, not for the world as such,
God’s peace and mercy keeps in touch.
7. “God’s peace!” is everywhere on earth
Our Lord’s response what faith is worth,
So we have faith, with peace shall we
In time God’s wondrous glory see.
N.F.S. Grundtvig

5. God, the great creator,
Is your liberator
At the bitter end.
This is what He’s doing,
Proper aims pursuing
As a rightful friend.
Let that pact
Just be a fact,
That your grave is an illusion,
God the soul’s suffusion.

57 “God, the great creator”
1. God, the great creator,
He who now and later
Gives me his embrace,
He who me expected,
Clemently selected
Me at birth of grace,
He who knows
How to imposeLife and death for me, emergent,He reveals what’s urgent.
2. God, the great creator
Who makes any baiter
Turn away from me,
He sustains my living,
Food and drink a-giving,Serve me well does He,
Oft it’s fun
As anyoneHas digested, sadly frighted,
He has me delighted.

6. God, the great creator,
Beat the dragon traitor
Mightily, did God;
Even if He leads us
Into pain, and breeds us
Sometimes pretty odd,
Be prepared
For strife declared,
For the peace He gives you later,
God, the great creator!
Hans Adolph Brorson
58 “When you take up the Master’s plough”
1. When you take up the Master’s plough,Then do not look behind you

3. God, the great creator,
Takes your hand, and straighter

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3. This year that starts a winner,
So much in Jesus’ name:Rise now, you wretched sinner,
And ﬁnd a peaceful aim!
Its promise fails you never,He gains who will endeavour
To beat by far, whatever
At eventide, at dawn,
He dreamed of New Year’s morn.

At earthly magic woods, or now
Old Sodom’s curse will ﬁnd you!
But plough your furrow, strew God’s seed,Too dry your soil, then cry indeed!
If tears your voice will stiﬂe,
Then think of yield a triﬂe!
2. But if perchance you look at all
For we are prey to weakness,
Remember then at once your call,
Do not go back in meekness!
Life is a road of no return,Decline the path: of death you’ll learn;
If haste caused, evidently,
Your fall, go forward gently!

4. As changing winds intend so
And leaves fall from the tree,
This blessèd year will end, though,In capital of glee,
With heaven’s gate unbolted,
With light of life unjolted,
With joy, now unrevolted,
Surrounding like a sun
Its royal throne is one.

3. This life does but a moment last,
And then its course has ended,
For Death is just a doze, though fast,
As we in sleep have tended,
The rest from any mortal coil
We know is worth much more than toil;
What then, when chant’s the measure:
Eternal is our pleasure!

5. It’s He who’s in the middle
Of heaven and of earth,
Who solves each single riddle
By words of clement worth:The ﬁrst one and the latter
Who saw and knew all matter,
Whose heart at last did shatter
So that it could complete
In human hearts its beat!

N.F.S. Grundtvig
59 “You want to know the seasons”
1. You want to know the seasons
Of spring and autumn here,
The start and end as reasons
For yet one blissful year,
So hark the best of choices,
The name in which rejoices
A host of angel voices,
Salvation all the same:
Our Saviour Jesus’ name!

6. His birth and his interment
Betided here below,
He ﬂourished then, afﬁrmant,
In our God’s acre so;
Alive He sits enthroning,
while everyone condoning,
Forever all atoning:
In name of Jesus Christ
Is penance well sufﬁced!

2. Now listen, souls that wanted
Seek penance well sufﬁced!
Each one who kneels, undaunted,
In name of Jesus Christ,
Will ﬁnd while he reposes
There suddenly uncloses
A year with cheeks like roses,
With happy smiles and true,
With eyes like heaven’s blue.

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7. Come then to mortal meetings
The happiest of years!
Come, hark the angel greetings
When happy spring appears!
Come from the East all golden
To ﬂood of joy beholden,
Our harvest to embolden

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7. Set apart from death and lying,Set apart from dark unrest
Soul can learn that ‘mid the crying
Grows the Tree of Life, unstressed,
And its River
Will content deep down deliver.

With penance well sufﬁced
In name of Jesus Christ!
N.F.S. Grundtvig
60 “Are you tired, says the Master”
1. Are you tired, says the Master,Is your load a heavy one,Come to me, then! In disaster,
I shall help till it is gone;
Rest should rather
Last a full year, says the Father.

N.F.S. Grundtvig
61 “Voice of God above the ocean!”
1. Voice of God above the ocean!
Voice of God with life and mind,
Voice of God the only motion
As Creation was designed;
Hence will sun and moon be shining,Hence will cloud have silver lining
Hence will ﬁeld and meadow bloom!

2. Bend the knee must every being,
Humbleness my very goal,
This I brought from heaven, seeing
Sabbath day is for the soul;Lifetime thriven,
Time of rest is thereby given.

2. Voice of God above the matter
When creating man from mould,
Never deafened by the latter
Its reverberation rolled;
Loud and clear from tongue intoning
As a human being owning,“In God’s image we were formed!”

3. Mild my yoke is on your shoulder,This you freely can take on,
Loads for young ones as for older
Are like down and straw down yon;
Power, spirit
Follow Cov’nant and must hear it.

3. Voice of God above the ocean,
Voice of God a christening word,
Voice of God the only notion
Of a reborn life we heard,
Grace of God is in the middle,
New Year’s living, christening’s riddle,
And salvation’s certain sign!

4. With my yoke of Cov’nant towers
Self-denial and belief,
Also spirit, holy powers,
Heaven’s word to hush our grief;
Peace reposes
In God’s love as it uncloses.

4. Voice of God in prayer hidden
At Our Saviour’s own request,
Childlike craves such grace unbidden
For his virtue warmly blest,
For his love and his adorement,
For his cross and for his torment,
For his deep humility!

5. Jesus is the noble shepherd,
All the parish is his ﬂock,
And his love will never jeopard,Years of rest no stumbling block;Learned so sweetly:
Ease his burden thus completely.
6. Go and ﬁnd the shepherd’s guerdon,
Every sinful, homeless soul!
Widely seen as yoke and burden
Granting rest to you his role,
Peace foreshowing,
Life in love of God bestowing.

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5. Voice of God above the table
In its glory and renown,
In its whole the Word is stable
Like God’s manna coming down;
Love and truth belong together

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God’s comfort as we suffer,
As all around gets rougher,
In life and death God’s peace.

Whether dark or sunny weather
As God’s wine and heaven’s bread!
N.F.S. Grundtvig

N.F.S. Grundtvig
62 “Why do you wail, complaining”
63 “I found support”
1. Why do you wail, complaining
So urgently, dear soul!
If your sad heart is waning?
Trust your creator’s goal!
His calming word receive!
He wants your soul to tarryWith bliss your burden carry,
In Jesus Christ believe.

1. I found support in burden’s heavy time,
My moist eye saw a picture most sublime;
I asked my God, why breaks the cross my heart?
His answer gave me peace some place apart.
2. Your cross is an affectionate embrace
Whereof the world did never dream the grace;
It bodes you’ll ﬁnd repose in arms divine,
It shows your Christian name as one more sign.

2. However slim their chances
God never lets them down
Whose trust in him enhances
His fatherly renown;
Though dangerous or odd
May be your situation,
You still shall ﬁnd salvation
For merciful is God.

3. Embrace, I see it clearly on the spot,
Embrace, that child from his own father got;
When he the infant presses to his chest,
The child in father’s arms will ﬁnd its rest.
4. Then it may happen that his love anew
Embraces stronger than it wants to do,
The baby winces and will almost yell
Despite the fact that love was meant so well.

3. If by each door excluded,
Where you would ask the way,
If by each light deluded,
Cheer up and live today!
Be silent, suffer, wait!
If God will then support you
The whole world will escort you,
And from that very date.

5. Yes, I am weak, therefore I cried from loss
As I was wounded by the sharpened cross;
My body hurts, but thanks in any caseThat you, my Saviour, give me your embrace.
6. Hence I shall lie serenely at your breast
And by this solace put my heart to rest,
You love me, wherefore your embrace is ﬁrm,
Yes, even if my heart has reached its term.

4. Bring peace of God so bravely
Into the camp of foe!
The stalwart, winning gravely,Your hero is, you know.
Though all the host of hell
In hate your faith opposes,
Its weakness it exposes,
God’s will be done, and well.

7. But I am faint, my soul is sick and weak,In night of pain, life’s roses kiss my cheek,
And if the cross will break me once again,
Just let me feel your love was not in vain.
Vilhelm Birkedal

5. The World’s concerted powers
No child of God may fear,
What we desire as ours
Will come to us, it’s clear:
God’s help ‘gainst all decrease

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64 “I call out loud, oh Master”
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3. There we will hear God’s simple word,
But not in voice of thunder:
A soft, transcendent sound is heard,
It ﬁlls the heart with wonder.

Your care for me grows faster,And you will save me, too;Your ear should be directed
T’wards me as I obey,
I do not feel rejected
On high when I do pray!

4. The message comes at Christmastide
From Him, our Lord and Father,
To praise his son, in Him conﬁde,As round the crib we gather.

2. Ah, if you paid attention
To sins that we commit
In life our own invention,
Who could endure your wit!
A favour you have granted
Each man at his request,
We love, extol enchantedYour Majesty’s behest.

5. Mind-manger is the fertile earth
That opens at His leisure.
At that, the childlike word of birth
Is like a seed of pleasure.
6. Then we shall hearken with delightHis servant’s word, untainted,
When by its words, from heart contrite
The Lord is lifelike painted.

3. For death by cruciﬁxion
Recall me in your realm!
May words of benediction
My hardships overwhelm!
For you the heart is burning
With eager, endless thirst,
Far more than watchmen’s yearning
For rosy dawn to burst.

7. It is delicious when you hear
How God’s own son was greeted,
An infant, laid in manger dear,His full-blown life completed.
8. It is celestial when you hearThat, sacriﬁcing dearly,
Divinely He will wander nearHis christened ones sincerely.

4. In God and his compassion
We conﬁdently trust,
And in his gracious fashion
That he has felt he must
Pour out on every being,
Our holy God, our Lord,
All of us thereby freeing
From sins’ and sorrows’ horde!

9. He calls the faith His mother sweet,
She knows His voice when spoken,
In life and death she loves to treat
His comfort as unbroken.

Steen Bille
65 “I know a little paradise”
1. I know a little paradise,You’ll ﬁnd it in a triﬂe
Where faith and christening do entice
So hearts need never stiﬂe.
2. There he of whom God’s angels singIs powerfully present,
There loud God’s children choir does ring
Like meadow birds so pleasant.

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10. At every hero stride on earth
He whispers to His mother,“When I grow up to show my worth
I’ll act like him, my brother.”
11. When on the Cross, the plaintive cry,“Why does my God betray me?”
He whispers, “Praised to God on high,This once does not affray me!”12. And when ‘tis heard, “He left the grave,
He disappeared from prison,”

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7. Thus it glows with radiant lightO’er the spirit’s rostrum bright,
Thus the word of cross embraces
Us with life at our own places
In our master, Jesus’, name.

The small one whispers, “Mother brave,
Rejoice now! He’s arisen!”
13. Now in this little paradise
I wish His Word producèd
So in the big one, bright and nice,God’s imag’ry is lucid.
N.F.S. Grundtvig

N.F.S. Grundtvig
67 “Lift up your eyes, all Christian men!”
1. Lift up your eyes, all Christian men!
See where the birds are cheeping
For up the churchyard path again
The hill and dale are creeping!

66 “Sign and word of cross a shock”
1. Sign and word of cross a shock
And to man a stumbling block
Everywhere the Lord’s invited
And where Jesus’ name is cited
As the living son of God.

2. It winds through ﬁeld and watershed
Among the corn and ﬂowers,
Where many birds they make their bed
In spring, in summer showers.

2. Sign is made and will appear
Rather often in the clear,
Not just made by icy ﬁngers,
But by mage or troll that lingers,
Slyly mumbling, “To and fro!”

3. Prick up your ears, all Christian men!
The Godhead is expectedWith life and light and peace, is thenAmong us resurrected!

3. To the cross’s word attuned
Making signs is still oppugned
By the world, a deed to weaken,
Is on Zion’s hills a beacon,
But in native tongues a blaze.

4. His words of life and spirit here
Make sorrow turn to pleasure,
And at his table, feel Him near,His presence is a treasure.
5. Yes, in each mouth and in each heart
His word will never wizen
He who has torn his grave apart,Has Easter morn arisen.

4. Sign and word of cross present
At the Master’s sacrament
Thus the very cross which ever
Christians must indeed endeavour
To support in Jesus’ name.

6. Therefore the hearts burst into song,
The hearts that burned when ﬁghting
As Jesus met the earthly throng,
The ﬁrmament igniting.

5. Weight of death or weight of pain,
Weight of woe in utter strain,
With no cross as sign, nor spoken
Far and wide we seek a token:
with the cross our stumbling block.

7. Let us with singing hasten home,
Apostles there caressing,
And in Jerusalem we’ll roam,With them receive His blessing!

6. Thus, the spirit of Our Lord
Makes the sign as his reward
For our heart and brain to ponder
As a morning star up yonder
Heralds now His sunny day.

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68 “The Virgin Mary sat in hay”
1. The Virgin Mary sat in hay
At nighttime in the stable,
In manger Jesus gently lay
In swaddling clothes, but able.
2. An angel entered golden-crowned,
So glittering and shiny,
While small suns circled all around
They sparkled, oh so tiny.
3. Like forest beech he towered highAs straight as any willow,
His wings were ﬂashing, ﬁt to ﬂy,
As crests upon a billow.
4. The angel thus appeared at once
For shepherds in the meadow,
A shiver was their ﬁrst response,
Their instant fears unsaid, though!
5. “Be not affrighted,” stated he,“Cry not at what I’m bringing!
I come from hidden land to yeWith joy and Christmas singing.”

10. “Now, glory be, this holy birth,on high His throne may glisten!
The Christmas message: Peace on earth,
Goodwill to all who listen!”
11. “Sing hallelujah, praise aloud
Our infant Saviour blessing!”
So, evermore, the happy crowd,
Their Christmas joy expressing!
12. With hallelujah on their lip
The shepherds now departed,
A happy Christmas morning trip,
To Bethlehem was started.
13. They came and found her on the hay,
The king’s delighted mother,
And in the manger where He lay,God’s only son, our brother.
14. And from the bottom of their hearts
They thanked the Lord devoutly,
From all the world’s most distant parts
we Christians do it stoutly.
N.F.S. Grundtvig
69 “My Jesus, let my heart obtain”

6. “I come with song from paradise
To every human being!
God’s son is born a child so nice,Mankind he will be freeing!”

1. My Jesus, let my heart obtain
Your favour as a whole,That night and day you will remain
Most sacred to my soul!

7. “This Christ Child, in the manger laid,
In Bethlehem you’ll ﬁnd him,
He wants you to go unafraid
To heaven right behind him!”

2. So then, each moment in your grace
Is blithesome time so sweet,
For you will kiss me on my face
When in your home we meet!

8. And there were little angels, too,
Like stars in bright apparels,
With crowns and wings you never knew
With ringing Christmas carols!

3. My heart, which in that grave you lay,
Arisen white and red,At eventide let rest and pray
And smile at being dead!

9. They sang till sun arose again
In shepherds’ tongue, outgoing,
In chorus, in the sky and thenIn heaven’s splendour glowing,

4. Take this poor sinner home to you
In justice fair and free,Your new Jerusalem come true
In glory I shall see!
Anonymous

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5. Ah, then I’ll die in happinessAnd fear not any danger,
My life in Christ is limitless,And death is not a stranger;
I die where’er,
But live right there
Where life has its creation,
With angel choir
Proclaiming high’r
The joy of God’s salvation!

70 “As I consider time and day”
1. As I consider time and day
When this my life has ended,
My soul rejoices straightaway
Like birds to sunlight tended,
Oh day so mild,
My strife up-piled
Will have a blissful morrow!
To pleasant glee
On Jesus’ knee
I go from woe and sorrow.

Niels Pedersen
71 “Now sun arises in the East”

2. My soul! be valiant, well within,Rejoice in Christ, your master!
For death, the wages of your sin,Will save you from disaster;
A loss before,
Now is the door
To a divine hereafter,
My death is now
A sleep somehow,
All sorrow turned to laughter.

1. Now sun arises in the East;
My soul, to God you win,
Pray he will save you as the least
From evil, shame and sin!
2. Our tongue in mercy stand he by,
So lies and broil may ﬂee;
And his redeeming love, our eye
From hostile ruse set free!
3. Purge he our heart and make it fresh
In any closet nook,
So great or small a lust of ﬂesh
Us never overtook!

3. So, mourn not where you’re coming toWhen you depart the living,A friend embraces you so true,
So faithful and forgiving;
God’s only son
Will pray for one
That they may stay beside Him,
His calm and peace
He would release
If even sinner tried him!
4. A lonely bedroom is my grave
Where I shall once be rested,
On doomsday I shall leave that cave,
This trust is not contested;
My clay, decease
And rest in peace,
Let evil be departed!
Do close the door,
God to the fore
And face the day light-hearted!

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4. So we, as daylight fades away
To shadows of the night,
May sing our praise of God today
His peace may be our plight.
C.J. Brandt
72 “A thousand tongues my pure desire”
1. A thousand tongues my pure desire,
The ﬁnest ring of this my song,
My soul would wishfully aspire
To praise the Lord the whole day long,
To build a paradise above
And therein take my ﬁll of love!
2. All greenwood in unceasing movement,
Please let me hear each little sound,To help me with my song’s improvement

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My pledge to God with joy abound!
Ye ﬂowers, bow your splendour down
To hail with me our Lord’s renown!

Where need is not a fact.
Oh Holy Ghost, my passion
This city must attract.

3. Each one of you who moves, come hither,
Each one who’s breathing in his breast,
Come, help me, so my thanks ne’er wither
By lending each his voice at best
To glorify the works of grace
Which have surrounded me apace!

2. But ah, these sailing waters!
How do I ﬁnd my way
Past hidden rocks
Through gusty shocks
To land at gladsome quarters?
By choice I’d rather stay.
But ah, these sailing waters!
How do I ﬁnd my way?

4. In all my life I have had many
A giant test of loneliness
In which through glee and plague, if any,
God guided me; I must confessThat he persisted in his goal
When waters reached my humble soul.
5. Away, delight and pain together!
You can oppress my mind no more,
My heart it quivers, like a feather,
For heaven’s holy, sacred shore;
All praise and pride and sacriﬁce,
Unswerving God in paradise!

3. Consolidate this notion:
I’m soon in paradise!
Belief make brave‘Gainst fear of wave,
Do steer across the ocean,
You know how I sufﬁce.
Consolidate this notion:
I’m soon in paradise.
Hans Adolph Brorson
74 “Oh hear us, Master, for your death!”

6. My soul proclaims your love forever
Until my life comes to its end,
Yea, though the trials here may severMy mouth and tongue, I’ll still attend,
To praise you as I used to do,
I choke a sigh and sing anew!

1. Oh hear us, Master, for your death!
Oh Jesus! help our need of breath,
No one like you advises!
Our aims you know, oh hear our speech,
Then send us light and comfort each
Before distress arises!

7. Do not reject my thanks, though minor,
That I can give you, treasure dear!
In heaven it will be much ﬁner
As angel tones I chant and hear!
I shall in lofty choir anon
Sing hallelujah ever on.

2. Dispatch your kind, omniscient mind,
Whose life’s delight is love unblind!
Our tongues he makes aglowing
So that we truly sing about
How down below you were, no doubt,
New life from death bestowing!

Hans Adolph Brorson
3. Yea, godhead sun, so strong and mild!
Oh shine now clear and reconciled
Until your light goes under!
Your ﬂowery acre, let it thrive
While birds are singing all alive
Your praise in tones of wonder.

73 “Oh Holy Ghost, my passion”
1. Oh Holy Ghost, my passion
This city must attract,
This pleasing gem
Jerusalem
Where all my pains turn ashen,

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Defying the roaring debacle at strand,
From home of the dead to the living ones’ land;This earthly repose will content you the best,
Ye high-born, our guest!

4. Yea, say it in the Lord’s embrace,
My Father! Glorify my faceThough childlike tear’s a treasure;
So that it’s known, at day, at night,
My yoke does ﬁt, my load is light,
My peace a blissful pleasure!

5. Oh hope winging high,Godsent, newly christened a holy reply!
Do lend us those feathers the spirit bestowed
So oft we can ﬂy to that far-off abode
Where sun of eternity shines all the time
On blessedness’ clime!

5. Oh then will countless eyes now shut
Be opened, sparkling fairly, but
Restored now by your spirit
And many rosy cheeks’ decay
And many children, run astray,
Are healed of weakness near it!

6. Oh love of our dream,
You calm, little source of the powerful stream!
Fill generous words into benison’s cup,
Our Saviour’s own words, and then ﬁll it all up;
Be thus our elixir on earth, free from strife
For inﬁnite life.

6. From small ones who in secret cried,
God’s precious son alive and tried
They did not see when present,
From those shall peal into the sky,
Burst open vault of heaven highTheir hallelujah pleasant!

7. Oh spirit of love,
Eternity, life in perfection above,
By high altar ﬁre you will melt human heart,
In sunlight and mildness the earthly depart,
So happy we feel that our bosoms acquire
The living’s desire!

N.F.S. Grundtvig
75 “Christianity, lo!”
1. Christianity, lo!
You offer the heart what the world doesn’t know,
What vaguely we glimpse as the orb looks so blue
Is in us alive, and the feeling is true;
My land, says the Master, is heaven and earth
Of love-founded worth!

N.F.S. Grundtvig
76 “Rise, all that God created here”
1. Rise, all that God created here,
In joy his praise to render!
The least he did is great and clear,
A proof of might and splendour.

2. How blissful our lot
To live here where death now a sting it has not!
Where all that has faded will ﬂourish thereby,
Where all that has fallen will reach for the sky,Where love is expanding like daylight in springThat roses enring.

2. If all the kings marched in a row
Of formidable mettle,
They were not able e’en to growA leaf upon a nettle.

3. How joyous the land
Where glasses run neither with teardrops nor sand,Where blooms never wither, and birds never die,Where happiness sparkles while meeting the eye,
Where payment for crowning old age on the bier
Is never too dear!

3. Yes, all the angels’ mighty force
That heaven’s sceptre wielded,
Could not produce a mote, of course,
To that they always yielded.
4. The smallest straw I wonder at
In forest and in valley.

4. Oh wonder, oh bliss!
You bridge ever faithful the dreadful abyss

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Every sore
Steels the core,
Bringing triumph evermore.

The needed wisdom, where is that,Its very form to tally?
5. What can I say when on my stroll
Among the meadow ﬂowers
I hear the warbling birds console
Like countless harps of ours!

4. Gallant saints of utmost daring
Have perceived this as no sham,Fortiﬁed in victor’s bearing
By the blood of heaven’s lamb.
Why should we
Then go free
From all Christians’ ﬁght and plea?

6. What can I say when all my mind
In deepness of the ocean
So very little there will ﬁnd
But mouths in ceaseless motion!

5. It may be their lives’ desire,
They obtain no freedom, though,If to God they don’t aspire,
In anxiety they go;
Flesh and blood
In the mud!
Then the soldier’s pluck will ﬂood!

7. What can I say when I may see
How hosts of stars do twinkle,
How each of them will beckon me
With tender smile and tinkle!
8. What can I say! – my meek remarks
Are triﬂes any hour:
Oh Lord, your wisdom brightly sparks,Your kingdom, goodness, power!

6. Rise in name of Christ to capture
Victory, how great the glee.
Round our heads we tie in rapture
Gospel’s token for to see.
Be the way
As it may!
But the Word shall be for aye!

Hans Adolph Brorson
77 “Rise, ye Christians, and get ready!”
1. Rise, ye Christians, and get ready!
Christian soldiers on the guard,
Foes are powerful and steady,All prepared for ﬁghting hard.
In accord
Draw the sword!
Hell deﬁes the holy horde!

7. Has our life in God been hidden,
And as dust our bones remain,
Easter morn the sun is bidden
To arise for us again;
Shows anew
This is true,
Jesus conquered Death for you!

2. Walk behind this prince of ours,
Trust his strong and stalwart arm.
Satan uses all his powers,
Fuming wrath to do us harm;
Do recall,Standing tall
Heaven’s hero copes with all.

8. Then the host of Christ assembles,
Sets itself around His seat,
Crown of life, the light that trembles,
Make us look like Him we meet,
Triumph song,
Harp so strong
Last forever, I’m not wrong!

3. Blood-stained ﬂag of Christ, now grab it;
Join in strife for humankind,Thus the daily ﬁghting habit
Reinforces soul and mind;

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Hans Adolph Brorson

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79 “Where’er your path may take you”

78 “Oh if I sat as Mary sat”

1. Where’er your path may take you,
However dark it seems,
From sleep He will awake you,
So trust God’s heav’nly schemes!
He who can show the breezes,
The clouds, the waves their trails,Your troubled path He eases,
In that He never fails.

1. Oh if I sat as Mary sat,Our Saviour she was gazing at,
With childlike trust besotten!
Sat there at morn and eventide,
In thirst imbibed the words he cried,
My worries were forgotten.
2. Was that my ﬁnest morning drink,
Was that at resting time, I think,My dew and nightfall cooling,
I learned most likely more and more
Of my desire from before
From my Redeemer’s ruling!

2. ‘Tis clear he offers pauses,
The one and only Lord,
But wonder, too, he causes
While keeping watch and ward;
For if He sees you tarry
In keeping hope and trust
You cry out – He will parry
And hear your cry as just.

3. So it became more easy, too,On happy walks, the thing to do,
To me was wisdom granted,
When, from the bottom of my heart
Such songs of praise my mouth did part,My life thereby enchanted.

3. Trust him and his creation!
His way is not deceit;
Leave him your desolation
With patience to defeat!
Then you will see it truly,
Our master he is wise
He turns all matters duly
To praise of boundless size.

4. Now here I am, oh Lord, my friend!
You speak! I answer and attend
Though low and mean my being
And yours almighty, high and kind!
You ﬁnd your own words in my mind,
Inept I am, unseeing.

4. Yea, father high above us,
Thou proper king of kings!
Because you always love us,
You know what goodness brings,
Achieving like a hero
With might and courage all
That in your mind from zeroYou have resolved to call.

5. You tell me I should be a childFor ever with our Father mild,
For me you this acquired!
You tell me that your spirit will
Release me from expiring still,
Make life what I desired!
6. Each word of yours is like a kiss!
Each hour with you is such a bliss,Your name a true elation!
You will encourage us right there
To pray the Lord’s eternal prayer
In childlike exultation!

5. As world distress was greatest
You did not spare your son,For sinners at the latest
A fair release you won;
By means of grace at gloaming
Your pledge is safe and free
However wild and foaming
The cruel earthly sea.

Marie Wexelsen

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5. Sin and death and all the arrows
That from hell can now be shot,
Lie as still as fallen sparrows
When you rested in the grot!
There you buried them and gave
Me a safe, consoling stave,
For redress of yours I tarry,
Palm of victory to carry!

6. Each clime will ﬁnd you ready,Each life, each human way,Your light forever steadyWill shine on every day;
As far as stars do glistenYour inspiration runs,
Though mortals hardly listen,
You help your little ones.
N.F.S. Grundtvig

6. Now I know you, God’s descendant,
Seeing your almightiness,
Resurrection makes resplendent
What I trust, what I possess,
Hope and blessedness and glee;
Yea, my christening is to me
In your death, as in a ﬁction,
Resurrection, my conviction!

80 “As the golden sun emerges”
1. As the golden sun emerges
From the coal-black cloud to see
While its brilliant radiance urges
Utter gloom and dark to ﬂee,
Thus my Jesus from his grave,
From the deep and deadly wave
Gloriously was resurrected
Easter morning, unexpected!

7. Make me all creation’s lover
By your power of redress,
Let the soil become my cover,Worms remove my lividness,
Blaze and water overwhelm!
In that faith and in your realm
I shall die, but to your glory
Rise from deathly territory!

2. Thank you, heaven’s greatest victor,
Thank you, hero of all life,
Whom no Death, no vile constrictor
Could conﬁne with hell’s dark strife!
Thank you for that Death was put
Down and trampled under foot!
Not one tongue can chant this pleasure
And sufﬁcient praise admeasure.

8. Sweetest Jesus, show compassion
By your noble Holy Ghost,
So my very act and fashion
Can be overseen foremost,
So I shall not slip inane
Into dark abyss again.
You removed me when entreatedDeath by you was thus defeated!

3. In my heart is consolation
For the soul thereby to ﬁnd
That relieves excruciation
As your grave I keep in mind,
Thinking how you drew last breath
In the dusky nook of Death,
Then arose in might and glory!
Nought can make such glad furore!

9. Thanks for how your birth gave pleasure,Thanks for this your godhead Word,Thanks for christening’s holy treasure,Thanks for grace at altar heard,
Thanks for bitter, deadly pain,
Thanks for resurrection’s reign,Thanks for heaven’s joy behind you,
There I’ll see you, there I’ll ﬁnd you!

4. Lying on the sinful courses,
Lying in unending need,
Lying with no caring forces,
Lying beggarly, indeed,
Lying ousted, hither hurled,
Left alone by all the world,
As a home the grave I’m gaining,
But there’s still some hope remaining!

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2. Unafraid while others worry,
Quite uneasy in their minds,
If I only, in no hurry,
Please my God in what he ﬁnds.
Yea, if only ...

81 “Sound it, heaven, sing it, earth”
1. Sound it, heaven, sing it, earth:God, your bounteous gift is worth
So much your love enriches,
Witnessed by the sun and rain
That in any clime again
Field and moor bewitches!

3. Unafraid while others sorrow
Over their affrighted lot,
From God’s grace I hope to borrow,
All the rest is soon forgot.
Yea, if only ...

2. Wherefore is God’s children broodThough they’re not with wealth imbued
Yet none the less free-handed,
Kindly offer what they own,
Hand and mouth as quick are known,
Their sparkling eyes are candid.

4. Unafraid while others frightened
Dread that day, extremely grim;
By God’s grace I am enlightened,
I commend myself to him.
Yea, if only ...

3. Little ones of Jesus Christ
See him as themselves, sufﬁced
By looking at each other,
Doing what they would have done
If at heaven’s gate as one
They’d met the godhead brother.

5. Unafraid when others tremble,
Yet my death no tremble shot;
Crown with me, on high assemble,
Will I tremble? I must not!
Yea, if only ...

4. Never they forget his word,“What you do to this my herd
Down yonder from desire,I regard as done to me,”
Shall return it certainly
And in eternal ire.

6. Sweetest God, your grace foreverBe with me down here! – You may
Rule my fortune, well, but neverWill my paradise betray.
Yea, if only ...
Ambrosius Stub

5. God the Father sun and rain
Offers in each clime again
To bad and good as equal
That’s the way his children broodShare like Jesus, then renewed
They’ll ﬁnd a happy sequel.

83 “‘Neath the Cross of the departed”

82 “Unafraid whate’er my chances”

1. ‘Neath the Cross of the departed
Stood his mother broken-hearted,
Mourning for him, deadly pale!
Sun went black as Jesus fainted,
Blackened hearts from scorn had tainted
And for fun abused the frail.

1. Unafraid whate’er my chances
Be down yonder, bright or dull,
Just this masterpiece advances
Over which I daily mull:Yea, if only grace I know,
Unafraid, how things will go!

2. Thus the Church knows, mother-hearted,
Better Mary’s pain, imparted
Under cross and taunting spell;
But one death for all offences
Clearly sweetens gall-strained senses,
Jesus did all things so well!

N.F.S. Grundtvig

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The apple gave charity’s name;
The twosome is shown,
For faith and for hope this is now his own
Wedding present.

3. Break not, heart! Be mother-hearted!
You may drown all pain that smarted,
In your Saviour’s endless love!
And whatever children suffer,
God’s begotten son is tougher,
Blessing them from high above!

N.F.S. Grundtvig
85 “Worldlings have so many sites”

4. Jesus and his mother parted,
Peace he gave her, tender-hearted,That’s the treasure of the Church;
For this peace will every ﬁghter
Suffer, witnessing it brighter,
End in paradise the search!

1. Worldlings have so many sites
And they gather there for pleasure,
Have God’s children then no rights,
Meeting here to sing at leisure!
With his heav’nly host that pleasantWill the Lord himself be present!

5. Bless you, mother, open-hearted!
Bless you, mother, dolour-darted,
Bless your sacred female breast!
In God’s eyes you found true favour,
By the Cross’s riddle braver
Solace won at his behest!

2. He is here, yea, heaven’s light
Gloriously and bright surround us,Life and peace are senses right,
Jesus’ light and spirit found us,
God and gladness rhyme together,
Gladly free of worldly weather.

N.F.S. Grundtvig

3. Little babies, hear them weep,First they weep and then comes speaking,Yet, the Word of rapture deep
Souls will all the while be seeking;Oft we gathered leaden-hearted,
Merrily afresh then parted.

84 “Though countless the ﬂowers”
1. Though countless the ﬂowers that grow on theearth,
Yet none has a scent to match faith in its worth;
In word of the truth it will ever endure,
Its deep-reaching roots will ensure;With scent in his mind
Our Maker himself planted out that kindIn his garden.
2. Though countless the birds that can ﬂutter theirwings,
Yet none can match hope to reach heavenly
springs;
To faith it descended like dew from the sky,
Ascended with smell for on high,God Father for one
At faith in its hope gave his very son
As a bridegroom.

4. Saviour good, protect our wit!
As we’re praying, as we’re singing,
Clear our eyes, enforce our grit,
Old and young together bringing!
Thus we learn in worldly welter
That your house gives better shelter.
N.F.S. Grundtvig
86 “The Lord is a king, immensely great”
1. The Lord is a king, immensely great,
In heaven he sits enthronèd,
Unseen by those who share the fate
By Christians down yonder ownèd.
But our Father is alive in his heaven.

3. Though countless the fruits that may thrive on atree,
Just one golden apple in paradise lee;And he who fullheartedly life-seed can claim,

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2. If ever God’s Word should choke a child,His son would expire from treason;

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4. Cheer up, men! And show me how you will
endeavour
To meet with the mermaids in treading the dance!
Ye youngsters so clever,
They want you forever –Do throw them away, keep your course and yourchance.

But those King Herod he has beguiled,Will die from that very reason.
But our Father ...
3. God’s angels still, as they did before,
Do all that he has decided,
And ne’er can you lock secure a door,
They slip through the way he guided.
But our Father ...
4. God’s angels descend, ascend anew
Whereever the Lord is present,
They bring to his friends good answers, too,And share his advices pleasant.
But our Father ...

Steen Steensen Blicher
88 “Now you must ﬁnd your path in life”(88: stanzas 1, 3-5)
Manly and calmly

1. Now you must ﬁnd your path in life,
Use life, abuse it not in strife.
Whatever hardship you may touch,
Trust heaven, not yourself too much.

5. Now merry and glad in name of Him!
Our king unlike any other,
The faithful must serve him, heart and limb,
Because he will be their brother.
For our Father is alive in his heaven!

2. Save up no gold! Discard it not!
Grasp honest assets on the spot!
In weighty deed reject no joke!
Joke so, that weight you may evoke!

N.F.S. Grundtvig

3. Suspect no man lest you have cause,
Believe without too much applause.
Do look and listen prompt and well,
But slow in what you choose to tell.

CONTRIBUTION TO ‘A SCORE OF DANISH SONGS, 1915’
87 “The boys of Refsnaes, the girls of Samsoe”
lively and blufﬂy

4. Shun clash and conﬂict when you can,But if you must, ﬁght like a man.
Keep to the straight and narrow path,
Leave not your guilt as aftermath.

1. The boys of Refsnaes, the girls of Samsoe,
They open the ball in a deviant dance
As gale makes the gam so,That sunshine then shams, oh,
And sailormen wish they were grounded, perchance.
2. Come, everyone who would like it, come hither
To ride on the waves at a furious pace.
Stark whitened they slither
Like chalk ﬂoating thither
Up hill and down dale, oh, how pleasant a race!

5. For greater load you’ll never feelThan what your conscience can conceal.
So go with God where’er you roam,
Then you will ﬁnd your proper home.
Steen Steensen Blicher
89 Maids in the Wood (“In shadows we wander”)
With calm grace

3. The howling of wind and the roaring of breaker:
A wonderful music for sea-going ball!
But sometimes a shaker,
A billow awaker
On deck; there’s no need of dead reck’ning at all.

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1. In shadows we wander,
We gather in straw
With livelong down yonder
Where ﬂowers we saw.
Pretty, little herb,

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With a dark and lonesome frown.
Lonely fells are not my home,
Even so it’s here I roam,
In my Hertha’s holts no user,
Nor tonight a childlike snoozer.

Simple and superb,
Standing fresh and green,
Out of sight, unseen.
2. We leave it intently
In shades of the rack,
And hope it will gently
Wind out from the crack.
If it sets its root,
Fate will then bear fruit.
If it dies thereby,
We shall also die.

3. Son of Norway! I remember
What you said with smelting breast
That at home around the ember
Is most quiet, is the best.
Swiss who lives on solid rock!
Said the same words ‘round the clock.
Strange, his yearning did embellish
Wonted mountains one would relish.

3. Then there is no comer
So glad thereabout
The following summer,
When ﬂowers do sprout.
Where the cross stands tall
By the churchyard wall,
Pale we’re out of ken.
All is over then!

4. Do you think these rocks can really
On their own impress your mind?
Ah, my heart too scared, ideallyTurns away from such a kind.
Sing the praise of spruce, of ﬁr!
Denmark’s beeches where they were!
Sallow river, bending, creeping,
Keeps my restless soul from sleeping.

4. The livelong down yonder
Where ﬂowers we saw,
We gather in wonder
Among pale green straw.
Pretty, little herb,
Simple and superb,
Standing fresh and green,
Out of sight, unseen.

5. In my country ﬂow no rivers
In a wide and clayey bed;
Silv’ry-blue the sea delivers
Fountains to our lives instead,Winding with its friendly arms
Round its daughter’s bosom charms,
And itself at bloom amuses
On the ample breasts it chooses.

Adam Oehlenschläger
90 Homesickness (“Odd and unknown evening breezes!”)

6. Hush, oh hush! The boat is yonderWith the rush and brush in sight;
Damsel songs will sweetly wander
Through the soft and silent night.
What a tune! A gentle zest
Floods delightfully my breast!
Then, what do I miss, descanting
On her pleasant way of chanting?

Sincerely, warmly (not too slowly)

1. Odd and unknown evening breezes!
Will you raise my longing mind?
Scent of ﬂowers mildly pleases!
Say, whereunto do you wind?
Passing over whiter strand
My beloved native land?
Will you there in silent waving
Tell them how my heart’s behaving?

7. This is not the Danish wording,
These are not the wonted sounds,
Not the ones that I’ve been herding
In my childhood’s wooded grounds.
Better will they ring, maybe,

2. Misty now behind the mountain,
Flaming red the sun goes down;
Yet, I dwell beside the fountain

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3. In warfare proper
With helmet, copper,
And hardened sheet,
Of goddess image
Through mighty scrimmage,His spear completeWith steel, and bigger,
His throw a ﬂash
And aims to trigger
The deadly gash.

But alas, no good for me!
Better though her tune is sweeping,
But forgive at least my weeping.
8. Take my plaintive singing only
For an unintended sigh!
In this evening, mild and lonely,
Wistful streams are hieing by.
Often such an eventide
Saw me in my holt abide;
Mem’ries are right now prevailing,
This for certain caused my wailing.

4. Odin in glamour,Thor with hammer,
With club stands Tyr,
Each ﬁghting maiden
Comes weapon-laden
To battle here.
When lur has hooted
Like hungry bear,
The gods recruited
Fray children there.

9. Early on I lost my mother,
Oh such woe that brought to me!
Denmark is my second mother,
Shall I e’er my mother see?
Life is weak as well as short,
Fate may give a far retort.
Shall I e’er the end then face her,In that fading heat embrace her?
Adam Oehlenschläger

5. What is our being!
A puff that’s ﬂeeing
Reluctantly;
A game elation,
Its aspiration:
Eternity.
To this you wander
In morning red
On roads down yonder,
But when you’re dead.

91 “As Odin beckons”
With power and courage

1. As Odin beckons
The hero reckons
To swing his sword;
By gory slaughter
The frames cut shorter
A body horde,
As quick as lightning
He hies, but calm,With Skogul fright’ning,
Her shield on arm.

6. Mongst mead and maiden,With blood unladen,
You warlike Dane!
You fortune’s minion
Till Skogul’s pinion
Has swept and slain.
By sword committed,
By oak wreath crowned
As well beﬁtted
The brave, the sound.

2. His sword resounding
As foe surrounding
While he is swift.
Valhalla craves him
When it can’t save him,
His armoured shift,This dauntless ﬁghter
Whose fearlessness
Makes fright not slighter,
Nor horror less.

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Adam Oehlenschläger

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3. The globe has me as a travelling limb,
I visit the greenest oases,
But ne’er a home can match with my whim
In all these spellbinding places.
Where plumb line two or three fathoms sounds,
It’s there that I’m in my own hunting grounds.

92 “Fortune has lately left you”
Quietly

1. Fortune has lately left you,
You’re trampled in the dust
And by your foes derided,
With no more friends to trust.

4. My brother I found at the viscount’s plough,Three sweating bullocks to draw it;
In his bright-red cap he could sleep somehow,
His head hang low when I saw it.
Like ﬂies that slip on a tarry deck,
His pattens trudged through the dirty dreck.

2. Still, give no heed, if only
You don’t yourself betray,
We were sent here to labour,
And not for joy and play.
3. But yonder minds will swim in
The Milky Way to lave,
Where life’s white swans are rising
Again from time and grave.

5. Just horses four in my stable here,
But never a one will be tired,
And never a crack from my whip they fear
For air is all that’s required.
No wings, no legs on these mounts to see
While racing the reindeer they’re ﬂying free.

4. They’re oft revealed quite clearly,
The notions you recall
That he be pleased most highly
Who suffered most of all.
5. For pain is just the lining
On robe of blessedness,
Light’s splendour is reﬂected
In springs profound, no less.

6. I met with my brother, grabbed his arm,
And urged him joining my forces;
In front of my coach it snorted alarm,
The ﬁeriest one of my horses.
The north wind we call it, this ﬁery one,
It listens, apart from itself, to none.

Carsten Hauch

Poul Martin Møller

93 “Our earth I magnify thousandfold”

94 “Rose is blooming now in Dana’s borders”

IntrepidlyWith calm warmth

1. Our earth I magnify thousandfold,
One side of it always gets greener:
Where here it fades and it turns to mould,
It’s born out there with demeanour;
The South grows old and is brushed aside
As now the North stands, a lovely bride.

1. Rose is blooming now in Dana’s borders,Starling whistles sweetly by the bed,
Bees are making nectar, dancing orders,
Stallions graze ancestral graves as warders,
There’s a boy who’s picking berries red.
2. Here between the gorges of the ocean
Neither spring nor ﬂoral splendour’s seen;
Snorts the whale in cold and stupid motion,
Silent bird uplifts in wing’d devotion
Quarry from the wat’ry hunting scene.

2. My father removed me from mother’s arm,
He gave me his coat as a pillow,
The north wind was whistling my only psalm,
My baptism salt like a billow.
My cradle was the Atlantic’s grey wave,
My cradle turned into my father’s grave

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3. My companions in the Danish summer!
Do you mind this travelled man offhandWho, recalling Dana’s bloom, is glummer

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‘Bove their heads the moon’s a keen pursuer,
While the swan’s a water-mirrored viewer,
Nightingale sings one more serenade.

As the souther plays a canvas drummer
Far from his beloved native land.
4. Whether east or west, where’er I wander,
I shall dream of you at Denmark’s Sound;
E’en among Constantia vineyards yonder
Longingly on beech leaves I may ponder
Back in Charlotte’s grove with you around.
5. Cries the clerk in each Manila hovel,“Denmark is a seedy little land!”Java’s wealthy sons don’t ﬁnd this novel,
E’en Batavia hucksters groan and grovel,“Denmark is a seedy little land!”12. Whether this as poverty you’re reading,Eastern magnate, satin-clad and fanned!
Happily my Danish bread I’m heeding,Thanking God as these my lips are pleading,“Denmark is a seedy little land!”
Poul Martin Møller
95 “Sleep tight, my ducky little dear!”
Mildly1. Sleep tight, my ducky little dear!
And rest your tootsy-wootsies.
With happy thoughts the angel’s cheer
will bless your dream and bootsies.

6. Eastern son in cloak discreetly swinging
Who behind his fan will gasp for air,Has a gaudy bird, is never singing,
Heartless maids to golden buckles clinging,
Scentless tinsel ﬂowers everywhere.

2. Sleep, tiny tot, in utter calm
Where’er your soul may hover.
The cradle is your mother’s arm,
My breast the cushion cover.

7. Could you, pledging gold and silver coolly,
Buy yourself a Nordic woman’s trust,
Buy yourself a puff of sea air, truly,
Buy yourself a shade in woods of Thule
And a clover ﬁeld for midday gust?

3. Sleep in my silken raiment’s lee,
My bonnie darling lassie!
While birds sing, high up in the tree
A lullaby so sassy.

8. Seedy man who ploughs his Danish acre,
Shakes the apples from his trusty tree,
Is by brains and brawn a true partaker,
Corn in ﬁelds and milk in cans, a maker,
Heifer in the grass to o’er its knee.

4. I see the dainty hands so small
Deep in my bosom boring,With lines therein and nails and all
Like others I’m adoring.

9. Yes, our Danish soil’s a fruitful story,
There is strength in all the Danish bread:
Wherefore Danish man is bathed in glory,
Wherefore Norman knife became so gory,
Wherefore Danish cheek is always red.

5. Your peepers they are sleepy now,
Good night I kiss them double,
The sandman soon will show us how
He lulls you with no trouble.

10. Eastern prince may with his purchased lovers
Sprawl quite drowsily on purple sod,
Listening to what black man’s trill uncovers‘Tween the pillars and the roof that hovers,
Cold and sallow like a marble god.

6. From mother sleep will surely ﬂee;
Can sleep be thus respectedWith day and night too short for me
To keep the lass protected?
7. Unsafe is any worldly pact
And holy oath, well, maybe,
But mother’s mood, it is a fact,
Is always with her baby.

11. Under pale green beech, this Danish wooer
Wanders with his lavish-ﬁgured maid,

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8. Sleep well, my only one, my son!
Now rest your eyes, my laddie,
I get a smile when sleep is done.
Then we go home to daddy.

With white horses pulling a golden coach,I return with a regal maid and approach
Mother’s dwelling again.

Poul Martin Møller

8. It’s the smell of the porridge I really ﬂee,
I sing aloud to the heavens with glee:
Hurrah, blue-jacketed Danish lad!
Hoist up all the tatters and bale like mad!
Soon we’re ﬂying along.

96 “Farewell, my respectable native town!”
Briskly and joyfully

1. Farewell, my respectable native town!
My mother’s pots of steaming renown,
My father’s heifer munches a-noosed,
My sister’s rooster sleeps on its roost.
I am running away!

Poul Martin Møller
97 “I take with a smile my burden”
With broad happiness, as if striding

1. I take with a smile my burden,
I bear with a song my load;
I feel how the shepherd’s guerdon
Is cattle and grass – and a goad.

2. Farewell, to my grandfather’s homestead snug!
Thank you for beer from our festive mug,
For steps where I sat with my rattle, too,
For mother’s milk and for food to chew,
And a barn-dance as well.

2. From north the dewdrops are driven
Cross countryside covered with corn;
As vault of darkness is riven,‘Tween ox-horns sunlight is born!

3. On clay-pounded ﬂoors, in a shirt so small,
I learned to walk, having learned to crawl!
Yet, now I am bored from such timid gait,
For me the parlour is much too strait.
I must hurry away!

3. I look over ﬁelds that are gleaming
Afar t’ward a blue-tinted bay,
I gaze at the thundercloud steaming,
But words can’t express what I’d say.

4. Let oxen haul at the peasant’s plough,I’d rather the deer in the woods than the cow.
While ducks are rocking by gutter’s rand,
Then the snow-feathered seagull ﬂies clean o’er sand‘Tween the sky and the sea.

4. I sling the old shawm to my lips where
I blow it at length so bright,
That brooks begin gurgling and drip there,
While billygoats bleat from delight!

5. I wander and sail in uneasy calm,
I fear to a hundred odd soles I do harm;
The whole world’s malice and quirky misrule,
Be it ever so hot or even too cool,
I intend to behold:

5. – Say, how can you possibly ponder,
As long as the heavens are blue!
My heart will tremble with wonder
As long as grass gathers dew.
Jeppe Aakjær

6. Watermelons and grapes and the roots of ﬁr,
Madam and miss in addition to sir!
I shall ski at the North Pole on gliding feet,And go naked in Otaheiti’s heat,
Crowned with coral the while.

98 “Now the day is full of song”
With even and calm happiness1. Now the day is full of song,
And now arrives the peewit,
While the snipe works all night longHis drum of love in free ﬁt.

7. The cheerful fellow will tempt his fate.
Maybe as a knight from a foreign state,

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Full-grown, a lovely sight;
And see the little zephyr,See how, without a noise,
Fine gauze around her bosom
It snatches and destroys.

Picking, picking dewy straw
Picking, picking rush galore,
Picking, picking ﬂowers.
2. Now in bloom marsh marigolds
Make meadows golden yellow,
Willow-herbs the South enfolds
In dancing – what a fellow!
Picking, picking ...

3. Oh maiden! sweetest maiden!
Now I have closed my book,
No more I stare at faded,
Old words in this my nook;
The life that I might ﬁnd there,
Now blooms outside the gate.
Ah come, my love, my kindest!
Why linger there and wait?

3. Day by day the pond salutes
With ﬂow’ring rush the sunlight,
Stretching high the straightened shoots
That everywhere have shone bright.
Picking, picking ...

4. You blue-eyed Mary, seeing!
You zephyr that can talk!
You lily, ginger being!
You rose that takes a walk!
The nightingales sing sweetly
In vaulted greenwood hall,
You sing and talk so neatly,
You, sweetest of them all.

4. Now the maid with silken stitch
Will make her linen ready;She who could no man bewitch,
In dreams is going steady.
Picking, picking ...
5. Hand me a forget-me-not,And last a curled mint, too.
Merry games our happy lot,
Their pleasure will imprint you.
Picking, picking ...

5. Ah come, surround the singing
Young singer, ah my dear,His lyre clearly ringing
Behind the beeches here!
Of Cupid’s rosy fetter
In raptures he will sing.
Ah come, endow him better
With kisses that you bring!

Jeppe Aakjær

CONTRIBUTION TO ‘ A SCORE OF DANISH SONGS, 1917’
99 “At last the spring’s upon us”

6. See now, how time retraces
Its youth from days of old;
From homes in darkened spaces
As leafage does unfold.
I want no more, when taken
Into my maiden’s arms;
In dance the fauns will waken,
Beholding naiad charms.

With life and warmth

1. At last the spring’s upon us,
Now bushes shelter me,
The nightingale is trilling,
Loud in the verdant tree,
And thickly fresh-grown ﬂowers
Stand by each other here,
And in the silver brooklet
The rounded waves so clear.

7. And Pan, the gallant ruler
Of woods and hedges here,
Will chase away the wailing
By sudden panic, fear
That terminates my Dryas,

2. The evening star a-twinkle
Awakens love’s delight.
Oh, see the slender maiden

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And at my noble parting hour
Refresh my heart with purple power.

My animated faun,
And then, unkind, unpious,
Meets name of love with scorn.

Adam Oehlenschläger

Adam Oehlenschläger
101 “Oft am I glad, still may I weep from sadness”
100 “How sweet, as summer day is fading”

Heartfelt

Quietly, romantic

1. Oft am I glad, still may I weep from sadness,
For no one’s heart can fully share my gladness.
Oft am I sorrowful, still must I laugh,
So no one sees my tear on that behalf.

1. How sweet, as summer day is fading
And crimson sun goes down to rest,
As deep from beechwood forest shading
Comes song from nightingale’s small breast,
To hear the harp’s soft hollow soundThe blissful evensong surround.

2. Oft do I love, still may I sigh from chillness;
Oft is my heart kept sealed off in its stillness.
Oft am I angry, still I have to smile;
For there are fools who make my reason rile.

2. Then pluck the strings so well adjusted!
Break, gentle soul, thy narrow fence,
Unlock that cage so long disgusted
For its constricted size, and henceThis bird in evening glow of gold
May its angelic wings unfold.

3. Oft am I warm, and in my warmth do shiver;
The world embraces me in frozen quiver.
Oft am I cold – but blushing red thereby;
The world does not allow my love to die.

3. Whenever evening glow out yonder
Dissolves behind the forest rim,
That’s when our souls begin to ponder
Eternity and mortal whim.
Rise up, my spirit, heaven near,
As wave toward the scarlet sphere.
4. Play gently on that harp, sweet maiden!
With vibrant tone so pure and strong,
And sing for skies with colour laden
One last, decisive evensong,
So moving was that sad refrain
Which will be sung for us again.

4. Oft do I speak – still silence I desire
Where contemplation freely can respire.
Oft am I dumb – and want a thund’rous voice
To drain the anxious breast and then rejoice.
5. Oh you, just you can fully share my gladness!
You, at whose bosom I dare weep from sadness!
Oh, if you knew me, if you loved me, too,
Then I could be just who I am – with you.
B.S. Ingemann102 “My little bird, where do you ﬂy”
Somewhat lingeringly, but not too slowly

5. “How close to me, my ﬁnal curtain?
See how the sands are running fast,
So swift and sure, can I be certain,
That this next breath won’t be my last!
Please God! make for the blood of Christ
My parting hour a noble tryst.”

1. My little bird, where do you ﬂy,
Are you to greenwood taken?
Do you remember me thereby?
My heart will break apart, and cry! –Oh God, how I am forsaken!
2. ‘Mongst others you were fond of me
If I am not mistaken,
But, could you just my sorrow see,
You came, you sang, ﬁlled me with glee,
Then I felt no more forsaken.

6. Yes, bathe me then in ﬂaming ﬁre,Oh setting sun! to souls a balm,
Until the scytheman’s fell desire
Embrace me kindly with your calm,

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3. His song vies with that of the biting wind,His healthy cheek turning rosy-skinned.
The Snow Queen is riding the blackened sky
Town and meadow by.

3. My little bird, you do not stray
From greenwood – I am shaken:
But I must go my gloomy way; –None loves you more than I, this day!
Oh God, how I am forsaken.

4. “You’re pretty to me in snow light so clear,
I choose you now as my sweetheart dear;
My ﬂoating island will take us so highLake and mountain by.”

H.C. Andersen
103 “Forget she did! my woe is in vain!”
Plaintively

5. The snowﬂakes are falling so dense and deep.
“My ﬂowers will catch you for me to keep!
Where snowdrifts pile up in a spotless spread
Waits our bridal bed!”

1. Forget she did! my woe is in vain!
The end of love brings heartache and pain!
I will walk so merry and strong,
Sunshine glistering all day long,
Thrush is whistling its song.

6. The light in the cottage is no more seen,
In rounds the snow dances white and clean,
A shooting star lights up the sky in vain,
Then it’s dark again.

2. Forget she did! my woe is in vain!
The end of love brings heartache and pain!
Offshore wind from my home to try;
Out, out there over sea and sky.
All caprices must die!
3. Forget she did! my woe is in vain!
The end of love brings heartache and pain!
New horizons will soon be seen
Laughter rules where weeping has been,
Heart still venting its spleen!

7. While sun shines brightly on lea ahead,
He’s sleeping so sweet in his bridal bed,
The lass she gets anxious, she runs for the mill,
The wheel, though, stands still.
H.C. Andersen
105 “Now, spring is leaping out of bed”
Calmly and friendly

4. Forget she did! my woe is in vain!
The end of love brings heartache and pain!
Sunshine glistering all day long,
Silent moon in the starry throng,
Heartache turns into song.

1. Now, spring is leaping out of bed,
Its golden hair of sunshine wells,
Now, earth is dreaming morning dreams,
The little wellsprings peal like bells!

H.C. Andersen
2. The gates of life swing open now,Those gates that town has always had,
And he who was most badly off,
Will leave in laughter, rich and glad.

104 “Snow covers the ﬁeld, oh so deep and white”
Narratively, not too slowly

1. Snow covers the ﬁeld, oh so deep and white,
Yet, in the cottage a glint tonight;
The girl is waiting by lamplight’s ﬂare
For her sweetheart there.

3. It’s singing in the deep blue sky,
A host of larks, the choir of glee;
They’re crowding from the mighty town
The shining, blazing sun to see!

2. The mill is now quiet, its wheel at rest,
The journeyman combs his hair at best,
Then merrily jumps up, hey, hey one two three
Ice and snow to see.

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4. They’re coming from the muggy rooms
Where wheel and belt feign larks in song,
Where weary grind and naked light
Have made the gloomy day so long.

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Look at Denmark’s land again
From its hills – how stately:
Closed by heights at times, the sightNow discovers belt and bight– Wondrous like the heron ﬂight
As evening sun is setting.

5. From chimney towers over town
Where thousands of machines had sung,
One hears for but a single day,
The open landscape’s warbling tongue.
Viggo Stuckenberg
106 “Look about one summer day”

Jeppe Aakjær

Evenly1. Look about one summer day,See the farmers rolling:
Land afore and town away,
Lark and bee patrolling,
Barley’s earing, berries grow,Toddlers frisking to-and-fro,Flow’ring rye, a scent you know,
Around the farms is drifting!

107 “There out of the fog looms my ancestors’ land”(107: stanzas 1-2, 5, 9)
Weightily striding

1. There out of the fog looms my ancestors’ landWith ridges, with meadow and ﬁeld;
Its back to the south and surrounded by sand
It’s striving to shelter its yield;
Yet never by sleeping the sleep of the just,For seldom the land is at peace,
But gales all alike
And breakers they strikeThe coast, with no sign of decrease.

2. Denmark is a little land,
All the way it’s thorough,Thus provides for every hand
In its ﬁeld and borough.
Rye is with its swollen knee
Growing high in hillock’s lee,Cone of hop and apple tree
Get sun by chalky gables.

2. There brooklets ﬂow slowly the valley along,
Forbearing, the stream meets their callAnd glide out to sea so sedately and strong,Though never a river at all.
But oh, how it glitters that late summer’s eve,
When salmon goes up ‘gainst the stream,
When rush and when reed
Bear dewdrops, indeed,And daylight declines as a dream.

3. Ferries with a broader breast,
Clad in steel and plated,
Plough and ply ‘tween east and west
‘Cross the belts, awaited.
Copper spires, roofs in tiles
See themselves for mirrored miles;
Far away the greenwood isles
Will watch the white sails’ swelling.

3. The widest of meadows I ever shall know
Are covered by moss and by sward;
Bright-hornèd the cattle on amberlike toe
Are treading the pen with no ward.
The colt growing plump round its loin evermore
From sap of the mellowest lea;
So red is its hue,Its muzzle like dew,
Its pasterns are springy and free.

4. Here the train will groan along,
Smoke is rising higher;
At a gate the colt gets strong,
Canters, snorting shyer.
Herdsmen couple cows a-tie,
Rush and brush let evening sigh;From the blacksmith’s door will ﬂyLong-lasting sparks at gloaming.

4. The fox at the rear of a bank licks his bones
While sunning his body of sin;
The hare in the ﬁeld turns to snifﬁng at stones,
She leaps over stubble and whin;
The otter ﬂops down in a fathom deep hole

5. If the towns do wear you, Dane,And your clothes too greatly,

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9. What e’er in the world was our desolate lot
With all its demolishing pride,
If not to a valley, a rush-covered plot
Our hearts in their tremblings were tied!
If ne’er we came back from the farthest of seas
So wrinkled and stooping to hear
The soft-gurgling rill,
Remembering still
As children we kissed it, oh dear!

From hunter and hound he’s secure,But plovers in gold
In ﬂocks you behold
Where vipers lie hid on the moor.
5. Dark rises a hillock from oceans of corn
In heather and blueberry dressed;
From slashes a twitter quite frail and forlorn
The sound of a lark with its crest.
The rye that’s a-waving as far as you see
In valleys, on hill after hill,
Gains roundness and form
On ﬁne days, in storm,
Like children who’ve eaten their ﬁll.
6. The heat in the heather, the ring in the rye,
The rustle of straw in the ﬁeld;
The steam-pressured bellies of clouds ﬂying highGive shade for a while till they yield.
Round smallholder gable the bees race to ﬁnd
Their skep near the onions and kale.
In outlying farm
Hear stable vault’s charmIn echoes of jade’s neighing tale.

10. They live in these gales of yours, bountiful land,This people, accustomed to wants,
I never possessed but one grain of your sand,And, homeless, abandoned my haunts.
You offered me, out of your stone-ridden brush
One night in the autumn, a stave.
Once that is in two,And living is through,
Perhaps you will grant me a grave.
Jeppe Aakjær
108 “Listen, how its pinions scuttle”
Delicately and gently

1. Listen, how its pinions scuttle
Past the meadow’s plenteous tuft;
As it’s darting like a shuttle
To and fro, no ﬂight is muffed.

7. Right here was a home on a spurrey-green croft,
A home with its chimney ill-set.
With one row of sausages up in the loft,
But otherwise hardship and debt.
Still, swallows it had in the hall, by the door,
And ﬂowers adorning the sill,
And wormwood on pegs,
And hens laying eggs
While sheltered by elder from ill.

2. Would you only once more read me
And in many years of yore
On my childhood heath, and lead me
To my father’s croft and door.
3. Oh, when you on winds turned over,And you looked into my eyes,
I, though more or less in clover,Showed my childlike woe arise.

8. My round-shouldered mother wound yarn
there, did she,
There under that rafter so long,
Dividing her breast ‘tween my brother and me
While mournfully singing her song.
She lies ‘neath that stone dike o’er yonder
inhumedWhere poppies are growing and great;
If people do harm,
When grief taints my calm,
So softly I leave by the gate.

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4. And it was as if another
Second you would ask with glee:
Wherefore sad, my little brother,
Why not thrilled and glad like me?
5. But when you from poplar hedges
Saw the croft come looming out,
You did ﬂee beyond the edges,
Went with others home, no doubt.

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7. She took a coin from out her purse“My offering” she spoke out;
She broke the beadle’s leg in pieces,
And parson’s eye did poke out.
She weeps ...

6. When in time one day I’m readyFor my spirit’s ﬁnal leap,
Make my cofﬁn’s journey steadyWith your sweet and dear cheep-cheep.
Jeppe Aakjær

8. The parson by the altar stood,
The Reverend Canute,“There’ll be no Lord’s Communion today,
Throw her out, this bridal brute!”
She sweeps ...

109 “There once lived a man in Ribe* town”
Blufﬂy and merrily

1. There once lived a man in Ribe* town,
His wealth he never could hide;He gave his daughter a silken shift,
T’was ﬁfteen fathoms wide.
She sweeps up the dew by herself now.
2. And ﬁfteen were the tailormen
To cut up that shift and to sew;
And some of them living in Ribe,
And some of them outside, though.
She sweeps ...
3. And ﬁfteen were the modest maids,
That shift they should lave and mangle;
And some of them met an awful death,
And some had a stitch from wrangle.
She sweeps ...
4. And ﬁfteen were the carpenters,
To hang up that shift across the yard;
And some broke their arms and their legsin pieces,
And some for a year lay marred.
She sweeps ...

9. And when she reached a verdant ﬁeld,
She swaggered up and down;
And all the herd of oxen there
Stampeded home to town.
She sweeps ...
10. And when she reached the banquet hall,
She laughed aloud with glee,“Now, certainly I went to church today,
One and all could hear and see!”She sweeps by herself any dew now.
Anonymous

TWO SONGS FROM VALDEMAR RØRDAM’S‘CANTATA FOR THE CENTENARY OF THE
CHAMBER OF COMMERCE’
110 Merchant Song (“A merchant, all day staying”)
With calm bluffness

1. A merchant, all day staying
At desk or counter slightly bowed,
Now, thoughtfully surveying,
Strides homeward through the crowd:
The means he adds, and measures
And weights are quite correct –Still, more than merely treasures
Must grow to prompt respect.

5. They ushered that bride right up to church,
Bedecked in ﬁnest skin;And ﬁfteen fathoms had to be pulled down
Before they could force her way therein.
She sweeps ...
6. And as she stood by the altar’s foot,She lost all sense of reason;
And felled the Holy Saviour’s cross,T’was almost an act of treason.
She sweeps ...

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2. Oft must a merchant handle
An awkward problem at a pinch,
Preventing any scandal
Of crash within an inch –But over crowds of crisis

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Rouse us, old ﬂag, that way
In life and death!

Or vict’ry’s roaring fame
He’s choosing what sufﬁces
The ﬁrm’s ancestral name.

3. Denmark, a thousand years –Seaport and farm, appears
As free men’s lot.
Use us where’er you can,All of us, man by man!
Bide as you once began,
As free men’s lot.

3. From more than books or stories,
In London, Seattle and Shanghai
You learn the categories
Of how to work, and why.
For every Dane turned greater
Out there through daily grind,
Then freighter upon freighter
Their wealth at home consigned.
4. This is the situation
That all of Denmark is, in short,
As one saltwater nation –A harbour of a sort.
Our oceanic buoyage
And many matching lights
Prepare a pleasant voyage
For days as well as nights.

THREE SONGS FROM ADAM OEHLENSCHLÄGER’S
PLAY ‘ALADDIN’ OP. 34
112 “Zither! Touched by this my prayer”
Dreamingly, but not too slowly

1. Zither! Touched by this my prayer,
Gayer grows your voice, and pleasant,Present is no more my sorrow,
And the morrow I’m not missing
Peace of mind, my ear you’re kissing
With your pure and perfect tone.
See this sunset, sanguine golden!
Holden as the scent of roses
Closes in, the moon is greeting
Billows ﬂeeting while it later
Listens as a mute spectator
To the song of love alone.

5. No prizes for the sleeper.
But give our merchant hope galore,
The earth will fathom deeper
What Danish drive is for.
For countrymen a teacher
In ways of life worldwide.
The buoyant waves will feature
The Danish ﬂag with pride.
111 Hymn to Denmark (“Denmark, a thousand years”)

2. Make it clear, my love’s unblended!
Splendidly my singing follows,
Swallows, though, and hides my passion.
It’s my fashion just to stammer,
Dearest zither! let’s enamour,
Striving for it each our ways.
As the evening’s purple hours
Bowers smilingly embellish,
Relish comes from tree crowns darkling,
Sparkling nightingale amazes.
Oh, then praise, sing loud our praises
What demands each person’s praise.

Loudly and with dignity

1. Denmark, a thousand years
Further than saga spheres,
Our people’s past,
Fruitful, unfortunate,
Homeland and global gate,
Teach us to cultivate
So rich a past.
2. Denmark, your fate will bringOnce more a stormy spring
Of life and death.
Strife or the working day –Bold strokes endure the fray!

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114 “Beyond black woods the moon”

113 “Hushaby now, baby li’l!”Quietly

Calmly, but striding

1. Hushaby now, baby li’l!
Now sleep soundly, now sleep steadyThough thy cradle’s standing still,
Down and rocker gone already.

1. Beyond black woods the moon
Already rises,
The nightingale in tune
Our Father prizes.
Its tones will softly melt,
Resounding dearly,
The brooklet deeply felt
Makes music clearly.

2. Dost thou hear the hollow gale
Sighing over my bereavement?
Dost thou feel the cofﬁn jailAs the hungry worm’s achievement?

2. Amid refreshing wood
One bloom may wither,Soon perishing for goodIts heart goes thither,
But let the bloom just die,Soon new ones ﬂower
From falling seed nearby
And ether power.

3. Sleep, my baby! by my song.
Nothing will thy joy devour.
Dost thou hear the gay dingdong
Of thy rattle in the tower?
4. Drawing near the nightingale;
Does its gentle clucking shock thee?
Thou didst rock me without fail,Now again I want to rock thee.

3. Oh, night! soon will maybe
Your fair moon brewing
My sallow visage see
In fatal blueing;
So let it smile good-byeWith no forewarning,
Then meet my ﬁnal sighIn blush of morning.

5. If thy heart is not a stone,
Mark my exploit, mother dearest!
From this elder on my own
I shall cut the pipe thou hearest.
6. Every tone will please thy mind.
How it laments weakly, lonely.
Like ferocious gales thou’lst ﬁnd
In the wintry branches only!

4. Oh, Israﬁl! you may
Stark Death resemble,
Come Allah’s judgment day;I will not tremble.
His name in state of grace
Absolves each faker.
Break me in your embrace,
He is my maker.

7. Ah, I have to leave thee now;It‘s too cold in thy embraces,
I’ll espy no nook, nor how
To return to warmer places.
8. Hushaby then, baby li’l!
Now sleep soundly, now sleep steadyThough thy cradle’s standing still
Down and rocker gone already.

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And challenge Death in gallant ﬁght!
To brave the grave and him we plead
For God’s support, and shall succeed.

TWO SPIRITUAL SONGS
115 “The greatest master cometh!”
Quietly

N.F.S. Grundtvig

1. The greatest master cometh!
Devoted is his deed:
His crucible is reﬁning
The silver pure from the bead.

EIGHT SONGS FROM HELGE RODE’S PLAY
‘THE MOTHER’ OP. 41
117 “Wild the storm on blackened waters”

2. That moment he’s awaiting
With studied care so dear
When clearly his very image
Will in that mirror appear.

Wild the storm on blackened waters,
Ravens croak in hideous ways,
Rage is rife in heaven’s quarters,
Horror rules! The last of days.
Sallow is the new-leaved tree,
Blood-stained dust the world must dree,
Sunshine decomposes.
Wake up, hearts, to fearless ﬂood!
Sun went down in fumes and blood,
But returns in roses!

3. The greatest master cometh
Who melteth soul and mind,
Deep into the heart he’s gazing
To see how souls are entwined.
4. Are then those depths reﬂecting
His image clear and pure,
It pleaseth the highest master,His deed is done, that is sure!

118 “Like golden amber is my girl”
1. Like golden amber is my girl,Like Denmark’s wheat when reaping,
Her glances blue as they unfurl,Blue sky in sea a-sleeping.
She’s princess Tove of Denmark!

B.S. Ingemann
116 “Gone are the days, they’re past and olden”
With ﬁrm dignity
The arrangement of both melodies may be used as it is forfour-part mixed choir; but in that case, No. II one tone higher.

2. My girl can be a little hard
On those she won’t admire,
Then ﬁnding words that leave them scarred
Or burn with heat of ﬁre.
She’s princess Tove of Denmark!

1. Gone are the days, they’re past and olden,
Like rivers in a sea of waves,
And where the weakling now is holden,
There, too, the strong have found their graves;
But, praise the Lord in heaven high!
The nobles’ line will never die!

3. The dimple fades behind a cloud,Her eyes turn grey and troubled;
But smiles again break through uncowed,
The light from blue eyes doubled.
She’s princess Tove of Denmark!

2. Grave is ﬁlled in, while cradle’s rocking,
And life effaces trace of Death;
So noble souls again are ﬂocking,
Each with rejuvenated breath,
And mem’ry, like God’s mercy, willBe spread for endless ages still.

4. I look into those eyes and ﬁnd
Them warm and unprotesting.
Then I am truly in her mind
As though in soft arms resting.
She’s princess Tove of Denmark!

3. Then let our eyes rest on that vision
That nobles called our life’s delight!
Yea, let us vie with best precision

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For I am painted glad.
Ah, ah, glad,
For I am painted glad,
Painted glad

119 “When the Eagle would ﬂy to rule”
1. When the Eagle would ﬂy to rule
One and all yelled, You are a fool!
As it rose past the tower’s height
Everybody sent up his kite.
Strong the eagle,
Wide its wing span,
Hate is strongest,
Hate is strongest!

121 “Thistle crop looks promising”
1. Thistle crop looks promising
And nettles neatly stacked,
But the rye is just so so,
The wheatﬁeld simply wracked!

2. When the eagle ﬂew high, the lot
Hit its wings with shot upon shot
While the paper-thin kites, like ﬁres,
Rose up high o’er the city spires.
Strong the eagle ...

2. Grudge and spite abundantly
Show powers hard to beat.
Friendship has a withered hand
Beside its crippled feet!
3. Chickweed green and dandelion
Are thriving far and wide.
Lily stalks are crushed in two,With roses, worms reside!

3. When the eagle from high fell down
Screams rang out over all the town.
No distress was there in that sound,
Each just screamed with the spite he found.
Strong the eagle ...

4. Vice inhabits mountain top
In wedlock with disgrace.
Virtue lives in cellar nook
If you can ﬁnd his place!

120 “A mother at the feast was told”
1. A mother at the feast was told
That now her son was dead;But turning pale, though, she could not,For she was painted red.
Ah, ah, red,For she was painted red,
Painted red.
2. This mother makes me redden here,
A lady claimed all right;
But turning red, though, she could not,For she was painted white,
Ah, ah, white,
For she was painted white,
Painted white.

5. Must and mould accompany
Dry rot beyond repairs,
Walls are heading for a fall,But, honestly, who cares?
6. Hate and sin with high and low
Uproariously behave,Love went over yesterday
To dig his private grave!
122 “My heart was truly bitter”
1. My heart was truly bitter,
So weary were my feet,
Unhealthy was my lonely soul
The journey’s end to meet,
The hungry crows so hoarsely caw,
Dark gales are gathering.
Come, spring!

3. Ugh, from the paint-box of our lives
The black I rather had;
But I cannot be painted sad,Carl Nielsen Udgaven CN 00051

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Come, Denmark’s gentle summer!
Come, ﬂower-mottled lea!
Come golden day and silver night!
Come, warbling birds, to me!

124 “There’s a ﬂeet of ﬂoating islands”(124: stanzas 1-2, 4-5)
1. There’s a ﬂeet of ﬂoating islands
Anchored up by Jutland’s pierWith a dream of hidden highlands,
Keen on trav’lling far from here.
Hamm’ring hard at stems, the sea
Meets with Denmark’s name alee.
Oh, its tone is tender!
Where we stood, where’er we came,
Did the music of thy name
Make our minds surrender.

2. But trees with bony branches
Despairing out of spite,
Will reach for masses, dark and wild,
That pass us by at night.
Now starved, the sparrow’s dropping dead,The earth a frozen ring.
Come, spring! ...
3. The Cross, though, freezes poorly
Like frozen cries of grief.
The empty hands will only bear
A cruciﬁed belief.
The troubled dead recall in sleep
Their wounds and suffering.
Come, spring! ...

2. Seas a-roaring, land a-breeding,Many islands sailed away
On the ocean’s wave while feeding
Denmark to the present day.
Onward through a lifelong ﬁght,
Whether murk or noonday light.
Hail the ships! Be greeted!
Flags a-ﬂutter, red and white.
This is Denmark, feel the might
Of its wake repeated.

123 “Testament, as he was dying”
1. Testament, as he was dying
Pierrot started specifying
To his notary, though crying,Thus with duty was complying.
Oh what fun,oh what fun! thought the Devil.

3. Sea and soil the Danes will furrow.
Friends! How splendid is our mould!
Undulating barrows thoroughScen’ry chequered green and gold.
Skylark climbing from his bed,
Up his Jacob’s ladder led
O’er the dew-soaked heather.
By the gleam of northern nightOver beeches, silent sight,
Heaven sings together.

2. “To my children I’m denying
All the wealth that they’ve been eyeing,
Friends the Devil sent a-spying
Devil take ‘em where they’re lying.”
Oh what fun, oh what fun! thought the Devil.
3. “Mr. Notary! I’m dying
And to sainthood I am hieing
Now on strangers I’m relying,
Unknown folk with better buying.”
Oh what fun, oh what fun! thought the Devil.

4. Keep that mem’ry, see it, hear it:
Clear and fervent is our mind.
Fitting is the speech and spirit
Hand-in-glove, both ﬁrm and kind.
Guard with wit what shall remain.
Tell the truth, but short and plain,
Happy with its mildness.
Old king Volmer laid the trust:
Danish law is fair and just,Contrary to wildness.

4. After that he’s testifying
To the vicar, almost sighing,“Mr. Parson, I’m relying
God repays me when I’m dying.”
What a fun, what a fun! thought the Devil.

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3. Lofty dreaming! Lofty dreaming!
Is that beautiful somehow?
Is your proud ﬂight only seeming?
Are your eyes perfervid now?
Will you think it is redeeming,
If you do not mean to bow!
Will you harvest what is teeming,
If you do not want to plough?

5. Winter-bright and summer-coloured,
Morning-merry, twilight-swept,
Lashing-straight and laughter-hollered,
Smile-illumèd, sorrow-wept.
This is how we freely spoke,
Unrestrained by foreign yoke,
Freya’s words reminding.
Bake the bread your own shall eat;Denmark’s rye and Denmark’s wheat
Dybbøl mill is grinding.

4. Oh, this art is hard to master,
Practised by the very few,
Namely one immensely vaster,
This: a full life carried through,This: your heaven to grow fasterIn your heart, and to pursue
This: avoiding all disaster
You’ll adore your Maker, too!

6. We’ll protect your independence
And your peace in gallant toil,
Reap in free and full attendanceGrain from your eternal soil.
Breathe the breezes of the North,Flower-sweetened ever forth,
Storms that make them salter.
Thus, a faithful life we lead
Sacriﬁcing all our deed,
Denmark, at your altar!

5. Simple-rooted in your being,
Simple-rooted must you build;
Not a crutchy cripple ﬂeeing,
Not a creature, idle-willed;
Need or happiness foreseeing,
With your faith and hopes fullﬁlled
May you, simple-rooted being,
Build a star bridge and be thrilled!

TWENT Y “FOLKELIGE” MELODIES
125 “Simple-rooted, simple-rooted!”Cheerfully

6. Simple-rooted! Simple-rooted!
I remembered all along,
As with whimsy undiluted
I would ﬂoat o’er earthly throng.
All the rest can be disputed,
Whether strife or deadly wrong.
– Simple-rooted! Simple-rooted!
That is life’s triumphant song!

1. Simple-rooted, simple-rooted!
– Never in the high blue sky! –This is where you’ve been recruited,
Where you prove your worth thereby!
All the splendour you‘ve saluted,
All the peaks your soul would try,
Here below be simple-rooted,
All your life to signify.
2. Coming down, look, here’s the matter!
Blithe descent like birds at morn,
When with lowered wings they chatter,– Never drop as lead is drawn!
Coming down, avoid the scatter;
Happy both at dusk and dawn,
Hating no one, love the clatter,Feel as if you’re newly born!

H.V. Kaalund
126 “Wherefore do our eyes feel pleasure”
Mildly1. Wherefore do our eyes feel pleasure
At a painting’s coloured stir;
For its light is apt to measure
Nature’s costume as it were;
2. And that stone, of glamour portion,
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The seas never age, and the earth is all restored
Each summer to its youth with its green life
aboard.

Measured in its true proportion
By our Maker’s tape, is grand.
3. Wherefore are we moved, and waken
At a poet’s splendid spree;
For those grapes that can be taken,
Are from life’s abundant tree;

5. Just one drop of the fountain where ﬁrst it
sprang free,
Just one bloom from branches of this, life’s
apple tree,
Then hair will never grey, and no grief prey on
your mind,
A glow be in your heart of a jubilant kind.

4. Wherefore it is all-embracing
Resonance of mermaid song,
For our heart-blood rises, racing
Where its billows swell along.

6. The fountain of life wells where I want to go!
The apple tree blooms, is abloom for good, I know!
Look forth, but not aback! – What your soul
wishes for,Maybe will one day be fulﬁlled evermore.

5. All that holds creation’s ardour:
Blaze of roses, oceans’ blue,
Forest vault and eyes arched harder,
Lips a-wrinkled as a clue,

7. But e’en though your soul can’t achieve justwhat it will, –Then other suns and stars are out there,
revolving still.
And even if all suns and all stars should go out, –Life’s fountain always springs where it opened
its spout!

6. Utmost thoughts in secret sighing,
Silent language locked in hearts,
Skylark song with brook replying, –All the textbook of the arts.
Christian Richardt
127 “I only looked back. Life’s delight, it died away”
Quietly

B.S. Ingemann

1. I only looked back. Life’s delight, it died away;
And then my soul resounded with solace in its say:Look forth, but not aback! – What your heart
wishes for,Maybe will one day be fulﬁlled evermore.

128 “Morning dew that slightly trembles”
Somewhat romantically

1. Morning dew that slightly trembles
In the balmy breeze,
Blossom fragrance that assembles
Under linden trees,Elﬁn game in halls of beeches,
Bird song heard in springtime breaches,
Moonlight, cast on waves, asunder,
These are Denmark’s wonder.

2. Let waves roll away, and let leafage loose its sheen:
Still streams rush and run, some day woods turnfresh and green.
Let sun be eclipsed, and let moon be on the wane,
Still sun and moon will rise from the seas once
again.

2. Deed that never is forbidden,
The heroic gest,
Famous tales forever hidden
Close to saga’s breast,
Hearts that homage render ﬂaming,
Courage death is not disclaiming,
Humble mind through pomp and pleasure,
These are Denmark’s treasure.

3. If rivers of time swallow up all the past,
Still life will stay in souls, and certainly will last.
If this is life unending, there is no need forlorn,
And then we have as good as in paradise been born.
4. A fountain wells out close to life’s olden tree,
In oceans run the torrents of immortality;

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Nor be seen as ﬂighty,
Church of the Lord.

3. Suchlike wonders, suchlike treasures,
Who would those forget?
Who would barter Denmark’s homeland– And with no regret –Where the birds in oaken shading
Freely nest while serenading, –For that land where vassals burrow
Ore for our tomorrow.
4. No, our home we shall not barter,Not for any price;
We shall act here, we shall settle,
Danish ways sufﬁce:
Strong as ancient times of ours,‘Gainst the foe we’re full of powers,
True to king and country ever,We will fail them never.

4. Teach us, oh earth, in eagle-wingèd spirit,
Trustful like you,
Turning around our heaven’s glare and cheer it
Faithfully, too,
Drawing from him the light that we desire,
Drawing from him the heat in every breast,
God and the entire
Harvest be blessed.
Christian Richardt
130 “The greatest master cometh!”➤ 115
131 “There sat a ﬁsherman deep in thought”
Evenly narrative

Carsten Hauch
129 “Earth, whose embrace”

1. There sat a ﬁsherman deep in thought
On words that the Lord was saying,
From gold or silver they were not wrought,
Nor music from mermaid’s playing;
There on the well smack he sat, Our Lord,
And crowds of people with one accord
Ashore, to the Word they hearkened.

Seriously and expressively

1. Earth, whose embrace is that of hate and slaying
Ages on end,
Bloodthirsty earth with loads of sin outweighing
Skills to befriend!
How can you follow, thus, your track so lightly
Under the sun that notes your sores, and then
Turn so green and sprightly
Each spring again.

2. Now, Simon! patiently spake the Lord,
His sermon already ended,
Put straightway now all your oars on board
And row as your boat’s intended;
Out on the water and haul a seine,
If I am right, it is not in vain,
I’d like us to go together!

2. Well, since the same who bound the planet underBands of the law,
Who gave his people in a desert thunder
Tables of awe,
He makes his sun paint every straw as golden,
This is the God who hears the prayers done,
Whom we are beholden
To for his son.

3. Aye, Master! sudden was his reply,
It’s all that we ever needed,
We toiled for nothing the whole night by,Your Word will not pass unheeded!
From doubt was Simon not free at all,But follow, doubter, his lead and call!
He did as the Lord did tell him.

3. Therefore, if all our happiness should falter,
Fade, and forgo,Thanksgiving hymns from any earthly altar
Always will ﬂow;
Then, though the pow’r of darkness may be
mighty,Ne’er shall our prayers die or be ignored

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4. His plied his trade and he hauled and dragged,
But found it beyond his powers,
The boat it faltered, the seine got shagged,
It got out of hand for hours;

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2. Moorland lark was a needy bird,
State of its raiment bitter,
Gold still from fortune’s wheel occured,Gold that always will glitter:
Dreamy gardens’ rosy bloom,
String of pearls in pensive room,
Birdsong’s magic twitter.

Then Simon beckoned his compeers true,
A load of ﬁsh for one boat, nay two,
Had both on the point of sinking.
5. As Simon noted this portent there
To Jesus at once submitted,
Said he, Oh Lord, leave me anywhere,
I’m deﬁnitely unﬁtted:
Oh, were I under the lenient sod,
Be merciful, I’m a sinner, God!
It troubles my humble heart so.

3. Moorland lark was a hasty bird,
Sharp-eyed it was, quite clearly,
Saw what was hidden, even heard
Thoughts of the poor, sincerely;
Painted in its gloomy nook
Scenes of life for picture book,
Old wives’ knitting saga.

6. Our Master looked at this sinner well,
And uttered, Be not affrighted!
I’ll simply teach you to catch and tellThose people alive, benighted. –Is that true, Master! you have my word,
Cried Simon jumping – and undeterred –From all of his past possessions.

4. Moorland lark was a luckless bird,
Pain of the heart too near it,Found, though, a clear and joyful word
That one and all could hear it,
Chanted poems loud and pure
Epic senses to mature,
Roused the people’s spirit.

7. Thus Simon followed his Master’s call,
The Word was his education,
And he caught souls by the thousands, all
Now shining in His creation;
On earth that ﬁshing of men will tend
To grow and never to reach an end
Which Simon with God had founded.
8. In heart’s own depth we shall face the test
Where worldliness cannot reach it,
To drag the seine at our God’s behest
And ﬁnd those who will not breach it;
Who wants the world, and no more than that,Will ne’er a word understand hereat,
Nor fathom our speech, not ever.

5. Moorland lark earned an honoured name‘Mongst the wingèd being;
Life was dolorous all the same,
Death and its woe agreeing.
With its gleam on Jutland’s strand
Folk and land in sparkle stand,Northern lights they’re seeing.
Carl Ploug
133 “Where we would ﬁght and sing”
Fresh and cheerful

N.F.S. Grundtvig
1. Where we would ﬁght and sing,
And every word would ring,
Where each person had his little nation,
Here in our very home
Soon will a people roam
Those to whom we then must yield some station.

132 Steen Steensen Blicher (“Moorland lark was a little bird”)
With quiet happiness1. Moorland lark was a little bird,
Nested behind the heather,
Soared from shelter, and undeterred,
Into heaven-sent weather,Sparkled like, on Jutland’s strand,
Northern lights for folk and land,
Brightening altogether.

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2. This is the younger blood,
This is the braver ﬂood,
Soon it takes the reins out of our clutches,
Planted beside our own,

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In your maternal cuddle
I liven up anew!

Soon it bestrides the throne,
Turning upside down all that it touches.

2. And all that breezes frightened,That frosty force defeated,
Is shielded now and brightened,
By this old hearth it’s heated;
Each gleam turns into gladness,
Each sigh reduces sadness,
Each hope suspires in song.

3. Just think they trampled on
What by our sweat we’d done,
Seeds we tended well so that they lasted!
Were they a Hunnish band!
Yes, painful was their standThough our temple arches they had blasted.
4. But, saved the best of breed,‘Bove all we shall precede
Kindred who themselves have zest and power;
Not such who, purposeless,
In feeble pursiness
Only parrot songs that we made ﬂower.

Jens Christian Hostrup
135 “The barques would meet on a sunset wave”
Seriously and expressively

The barques would meet on a sunset wave,
And promptly the air began glowing,
They struggled on top of the open grave,
Profusely red waters were showing.
Here am I, set as a standing stone,
A witness to kindred and nation:
Danish they were, and their crumbling bone
Rots ‘neath its ultimate station,
Danish of tongue, and of birth and of trade;
Legends recall them as centuries fade:
Digniﬁed sons of the fathers.

5. Lo, now their day is near,Soon they will govern here;
Earth, however, grapples with migration.
Schools, whether big or small,Thus listen to the call
To beget this useful innovation!
6. Chasten the Goth all right,
Guiding his freedom ﬂight,
Tame his vigour, even the deﬁant!
Cow not his eager grit,
Cool not his blood a bit,
Teach him what’s worth loving, self-reliant.

N.F.S. Grundtvig
136 “The noble nature student desires not that wreath”
With noble simpleness7. Train him in warfare well,But help himself to tell
What to us is sacred, be respected!
Fight for it evermore,
Make good our every ﬂaw,
And make what we’ve nicely done, perfected!

1. The noble nature student desires not that wreath
In waters of time quickly fading;
He looks for and reveres just the glory beneath,
The light that is endlessly pervading.

Mildly2. The roads of the desert, they can not stop his feet,
Nor can deadly winds without number,
The breath of the ice pole does not make him
retreat,
He ﬂaunts any wants that encumber.

1. When summer song is ﬁnishedAnd winter cold takes tether,
The dying notes diminishedAnd drowned in stormy weather,
My home, here in your huddle,

3. The mighty and ancient ones in graves of thisour world,
These horrors the ocean’s deep is hiding,
The twinkling of worlds as the Milky Way is pearled,
And roars in abysses subsiding,Jens Christian Hostrup
134 “When summer song is ﬁnished”

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Such a trouble, Father, I’m
Freed from, and unshaken!
When the night within my breast
This old heart’s enfolding,Oh, let comfort be my guest,
Daylight’s trophy holding!

4. The red roses blush and the nightingale that sings,
The nest that the dove reinforces,
The movement of heavens and May ﬂies’ ﬂitting
wings, –Reveal to him the inﬁnite courses.
5. In fetters of the ages he never gets caught,
He misses in cosmos no mystery,
By lightning he’s pushed to be messenger ofthought,
And steam as just his bold steed is history.

4. Heavy, gloomy, silent night
All the earth has covered,
Yonder at a window’s site
Watch lights only hovered.
You, relieving need and woe,
Evil’s liberator,
Brighten dreadful death, I know,
Thank you, light’s creator!

6. The richest of treasures he’ll ﬁnd in clay or mould,
His mind through abysses will wander,
He offers everything to the world, but not for gold,
His pay is forever to ponder.
7. Those thoughts that are ﬂying like swans up in
the sky
Raise wonder in countries most distant,
And never do they age now, and never do they die
Neglected; they’re always existent.

Jakob Knudsen
138 “Like purest waters rise from deepest spring”
With natural dignity

1. Like purest waters rise from deepest spring,
And tasti’st drink from darkest well comes ﬂowing,Thus kindred core becomes a stronger thing
By heritage from mem’ries deep and growing.
Your day is truly short, but long your kin’s;
So listen humbly to its root, agreeing:
As thousand years resound in songs and sins,
Its top is whistling t’ward eternal being!

Carsten Hauch
137 “Heavy, gloomy clouds of night”
Quietly, not too slowly

1. Heavy, gloomy clouds of night,
Drawing nigh in welter,In the woods a hidden site,
Crows in black to shelter.
Twilight spreading far and wide,
As the night is falling.
Through the night, dear God, abide
By us when we’re calling!

2. We look for ancient traces, vast or slight,
The ﬂint axe, harrow-scarred and hid for ages,
The bog-found trinket, crudely rough by sight,
The chapel’s ashlars, laid in solid stages.
Each musty script, each mottled prayer bookHas kept our woe and fate in bits and pieces;
Today they will disclose which way I took,
And lift a corner of what life releases.

2. Stay nearby, for without you
I shall be rejected!
Stay nearby, for without you
Darkness is expected!
Hold me by that father’s hand
I forever cherish!
Set me free from night-time’s band,
Then my fear will perish!

3. Now Danish rye is ﬂow’ring by and by,
The larks they warble, cuckoos are returning.
You toddler state, so cosy on the sly,
While all the world around your crib is burning,
To you go all our hopes and manhood dreams,
When village churchbells bless your sandy beaches,
When afterglow succeeds the sunset beams,
And sign of holy peace your forehead reaches.

3. Let me feel that every time
Life becomes forsaken,

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4. Now let me ﬂutter off like autumn leaves,
Once you, my land, my tribe, your freedom feeling,
Just as the Danish voice in song achieves,
Make stronger, freer souls by such annealing.
By then some other farmer on his croft
Will hearken what some other lark composes,
While summer paints in blue its sky aloft,
And rye is ripened nigh on cove and closes.

5. Thus is our land a paradise
Of peace and silent merit,
In pail and pot there’s food sufﬁce
Which man and maid inherit.
So then go forth, our Danish bread,
Give cheek its glow, leave hunger dead,
Deliver us from want ahead,As far as sweetness reaches!

Jeppe Aakjær

Jeppe Aakjær

139 “The Danish bread, it grows on plains”
Evenly and warmly

1. The Danish bread, it grows on plains,
Delicious in its sweetness,
A rising smile where mother reigns
In morning sun’s repleteness,
It strengthens any youngster’s arm,
Enhances virgin bosom’s charm,
Where founts of tenderness becalm
And spring into the heartbeat.

140 “Gone are the days, they’re past and olden”➤ 116
141 The Spider’s Song from ‘Aladdin’ (“Behold my web, howfrail”)
Seriously, but gracefully

1. Behold my web, how frail
The threads are ﬁnely plaited!
A puff, and then the veilWill be annihilated:
A feeble picture, though,Of omnipotent might.
Through bitter moment’s woe
Consoling words I cite!

2. The Danish man is one of peace,He neither fumes nor rages,
His native land makes him release
His plough and hum for ages.
His mind sees warfare as abhorred,
His coulter is his knightly sword,
And he will rather be adored
For honest toil and labour.
3. The Danish wife, the Danish spouse,
She who is titled mother,
She lays the table, minds her house,
And cares for every other.
She is our sunshine all life through,Our rooms she’s making fair anew,
Good things of life are not too few,
Each mouth is fed and sated.

2. Take heed of this my deed!
On high he is residing
So mighty in his lead,His eyes intently guiding!
He pulls the thread at will
Now out, but then now in,
Observing, oh so still,
My tiny web begin.
Adam Oehhlenschläger
142 “Freedom is the purest gold”
Strongly and cheerfully

1. Freedom is the purest gold
The sun will shine upon, behold
This gem of yours forever.
Protect it well for it is worth
Far more than all your life on earth;Thus, freedom craves endeavour.

4. The Danish child with fragrant breath
Is rosy-cheeked in clover,
While war and hunger, plague and deathWill ride the whole world over.
Protected by the elder tree,
It prattles at its mother’s knee,
While blood is lending sky and sea
Its colour in the distance.

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2. Freedom is a castle wall
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And ghastly foes have raided;
From there you tell them bravely, “Stop!”
Mere cowards let the drawbridge drop
And slip away, degraded.

143 “The greenwood leaves are light now”
Mildly1. The greenwood leaves are light now,
And Denmark’s verdant ﬁeld
‘Tween glitt’ring sounds is right now
A silver-edgèd shield;
The blossoms’ white is dotting
The scen’ry with its lights,
While stars above are spotting
The tent of northern nights.

3. Freedom is a lovely town,
Consent a matter of renown
Where neighbours give in nicely,
And each so treasures their bequest
That all protect each other best
And follow rules precisely.
4. Freedom is the golden shield
When sword of righteousness you wield
Against the cunning power,
To let the vine of peace bear fruit,
But if it cannot set its root,
No peace will ever ﬂower.

2. Released is now the bird’s tongue
From winter’s death and ban,
A sunshine choir is heard long
In woods by everyman;
They summon us, those voices,
From workday cage and crew,
Far from their lack of choices
To ﬁnd you, nature, too!

5. Freedom is a bird you ﬁnd
With mother’s voice and father’s mind,
Take heed and hold this ﬂyer;
If any rogue makes you believe
Its ﬂight is not beyond retrieve,
He is a graceless liar.

3. This freedom, gone amissing
In crowded town too soon,
On open ﬁelds we’re kissing
Some sunny day in June;
Its cheeks are always tender
As apple petal’s hue,
And round its hair in splendour
Are wound the pearls of dew.

6. Freedom is a royal hawk,
When ﬂed afar, your sweetest talk
Elicits not its sally;
And with it happiness and peace,
It bears away, beyond release,
While scores of eagles rally.

4. Thou bright, refreshing summer,
Our freedom’s youthful bride!
With dust and din we’re number;
Now peace and calm preside.
In sunlit days you’re fetching
For us our lives’ delights,
Above us all you’re stretching
The tent of northern nights!

7. Freedom is a beauteous bride
Who travels with you open-eyed;
Respect and love her dearly!
And when you take her as your wife
A splendid harvest ﬁlls your life,
She’ll nourish you sincerely.
8. Freedom is the safest port,
Set course for there, the last resort
When hope has nearly vanished.
There regal vessel, simple boat
Will ﬁnd a haven, safe aﬂoat,
Where all distress is banished.

Johannes Jørgensen
144 The Flood (“When night it gushes from blackest sky”)
Seriously and ﬁrmly

1. When night it gushes from blackest sky,
And moonlight hushes till morn is nigh,
While virtue’s dizzy so evil’s busy,
Of light it’s shy!

Thomas af Strängnæs

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2. God sends His glances like lightning strong
As Cain entrances the giant throng:
Despite its master the world slips faster
From right to wrong!
3. Our Lord of changes whose stool does stayOn mountain ranges, on clouds pale grey,
Will swear in ire: each peak, each pyre
Is water’s prey!
4. But hark now, fearless, young Enoch’s son!
Float high and peerless, my favoured one,
Take kin and trestle, go build a vessel
Ere sands have run!
5. The giants mock now with scornful sneers
In Noah’s dock how an Ark appears,
T’ward unknown ocean in odd devotion
He perseveres.
6. While others plummet, he’s sailing high,On mountain summit, his God is nigh!
As thunder rumbles o’er earth that crumbles
From cloven sky.
7. Now heaven’s sluices release their might,
While sea induces the gloom of night,
The rose is fading, and death invading
Each giant’s sight!

This undeceiver, a non-believer
Whose brain can’t rest!
12. At cool of nightfall, at eventide,
Comes just the right call from one outside
To gopher vessel, a full redressal
Applied worldwide,
13. “End of disaster! this message clear
In spring our Master has made appear,
From nature’s wonder to him thereunder
I carried here!”
14. An olive letter, brought by a dove,
Was ne’er a better behest of love.
Who can explain it? Let us retain it,This light above!
N.F.S. Grundtvig

CONTRIBUTION TO ‘THE FOLK HIGH SCHOOLMELODY BOOK’
145 “The greatest master cometh!”➤ 115
146 The Daffodil (“Easter bloom! A potent drink”)
1. Easter bloom! A potent drink
From your yellow cup conveys me
Quite a marvel and, I think,
Will refresh me and will raise me:
Thus the swan’s wing, swan song teems
Out of everything, it seems;
Wakening I shall see the perishedThroughout Easter dawn be cherished.

8. Below its shelter, secure but dark,
On waves that welter lies Noah’s Ark
With rooms a-ringing, and better singing
Than gnats can spark!
9. And God rejoices on billows deep
In skylark voices, in sparrow’s cheep,
In mortal clay where His heaven may shareIts treasure heap!

2. Now revive in mood and mind,
Rise from graves of past and present,Childhood days! Come with me, ﬁndFather’s garden really pleasant!
Let me, to an Easter song,
Church bell’s digniﬁed dingdong,With my heart embrace this ﬂower,
Breast and head let overtower!

10. With seas now shrunken, in weakness ﬂat,
The mastheads sunken appear thereat,
The Ark is stranded, the world has landed
At Ararat!
11. The battened hatches on mountain crest
He now unlatches to face the test,

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Rose with you in equal fame
Woven into garlands tightly;
Daffodils from garden bring
Happy messages of spring,
Memories of dawn’s perfection
At the human resurrection.

3. Winter bloom, of springtime fame,
Please, unfold in silent bower!
Only fools feel guilt and shame
For their lots and for God’s power.
Though but humble is your dress,
Without pomp or gaudiness,
Even though they’re often taunted,
Looks like yours I always wanted.
4. Not in pleasant summer air
Did you sprout from morning dozes,
With no lily leaves to wear,
With no balmy scent of roses;
During winter rain and gale
You came out from barren jail;Seeing you then, he’s elated
Who loves all you’ve vindicated.

N.F.S. Grundtvig
147 “Gone are the days, they’re past and olden”➤ 116
148 The Spider’s Song from ‘Aladdin’ (“Behold my web, howfrail”)➤ 141
149 “Earth, whose embrace”➤ 129

5. Peasant bloom! But is it true:
Is your presence here a token?
Has your sermon any clue?
By the dead can graves be broken?
Did he rise as says the Word?
Will his speech once more be heard?
Yellow shroud, is your arrival
Easter Sunday his revival?

150 “I only looked back. Life’s delight, it died away”➤ 127

6. Oh, how dear you are to me,
Garden bloom for village peasant!
More than roses’ worth to be
On our fathers’ graves at present!
True your message is of spring,
Of the jubilee you bring,
Gives each noble dead protection
And transﬁgured resurrection!

153 “When summer song is ﬁnished”➤ 134

151 “Wherefore do our eyes feel pleasure”➤ 126
152 “The noble nature student desires not that wreath”➤ 136

154 “Where we would ﬁght and sing”➤ 133
155 Song of the Young (“The stress of years could not jadeour mind”)
1. The stress of years could not jade our mind
Or break our back with unceasing grind,
Our ﬁght, our calling, all we can bear,
Are hid below the horizon somewhere.
Still our voices lack their strength,
And our deeds aren’t done,
But ‘tis told of us at lengthWith the words: We go on!
Onward to the wreath of honour!
Clear the career for the runner.

7. Yes, I know the truth you tell:
The Redeemer has arisen!
This is each Good Friday’s spell
Freed each Easter morn from prison:
What is seal and sword and shield‘Gainst the valiant Lord, revealed?
Only husks, if he respired,
He whose penance was required.
8. When that haps, by lily’s name
You’ll be called, and always rightly,

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2. We walk, aye, on our sensible way
As though to meet a new dawning day,
We do not grope around in the gloom,
Shall not be snared in the circles of brume.
Is the haven far somehow,
Wind is fair in our sails,
Sun will rise before the prow
So that nobody fails.
Rightly forward! Lights are lighted,
He knows the way for the frighted.
3. Thus, foot by foot we see where to go,
But know full well the aim here below:
To keep our compass deep in the breast,
Not just to ﬁnd, but to ﬁll places best.
Yes, our step must ﬁrm abide, –We are free ﬁrst of all, –Aspiration must be wide,
And our conduct recall
Open-eyed and able-handed,Thoughts independent and candid.
4. We hear it call wherever we roam,
Our good old, sunken ancestral home,
Millennia did it bravely defy,
Though now it hopes but to free us to ﬂy.
We will clean it of its dust,
Truly guard what is worth,
Leaves of every spring we must
Let grow up from the earth, –Denmark, mountains not your splendour,
We are your strength and defender.
5. A lonesome walk is not of our style,
We ﬂock together once in a while,
Our wanderlust, unbounded, is free,
We’re keeping step rather well and agree.
Yes, we’ll tear along in song
Through the town, o’er the rock,
Never does the way look long
To our tight-knitted ﬂock;
Close up now! too short the pleasure;Soon we’ll be striding at leisure.
6. The time is nigh we’re soon on our way,
And all our arms prepared for the frayHave sharpened points and edges that tell,
And we shall learn how to handle them well;

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Learn injustice to remove
While in ﬂourish of youth,
And through life’s affrays to prove
Simple courage and truth;
Even if the ﬁght’s repeated,
Never shall we be defeated!
Jens Christian Hostrup
156 “Simple-rooted, simple-rooted!”➤ 125
157 “Freedom is the purest gold”➤ 142
158 The Flood (“When night it gushes from blackest
sky”)
➤ 144
159 “There sat a ﬁsherman deep in thought”➤ 131 (stanzas 1-7)
160 “The barques would meet on a sunset wave”➤ 135
161 Steen Steensen Blicher (“Moorland lark was a littlebird”)➤ 132
162 “Morning dew that slightly trembles”➤ 128
163 Homesickness (“Odd and unknown evening breezes!”)➤ 90
164 “Rose is blooming now in Dana’s borders”➤ 94 (stanzas 1, 4-5, 7-9, 11-12)
165 “Heavy, gloomy clouds of night”➤ 137
166 “I take with a smile my burden”➤ 97
167 Danish Patriotic Song (“Sing, Danish man! With all
your might”)
1. Sing, Danish man! With all your might
In praise of our mother, sing!

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The sea and bay in blue and white
Her house will always ring:
The forceful ocean reaches
T’ward verdant coasts and beaches,
And over golden corn ﬁelds
Stands Viking menhir upright!
2. Sing out, may grief from passing night
Be joy with each happy day,Our sky will change its colours’ bright,
But ne’er our ﬂag, we say.
As girls bespeak you, blushing
In rosy cheeks’ new ﬂushing,
The way to freedom’s treasure
The freshness of life will light.

175 “Look about one summer day”
➤ 106
176 Maids in the Wood (“In shadows we wander”)➤ 89
177 “There’s a ﬂeet of ﬂoating islands”➤ 124
FOUR “FOLKELIGE” MELODIES
178 “Teach me, star, precisely”
1. Teach me, star, precisely,
Obedience, but nicely!
Not to leave the track that he,Heaven’s God, allotted me!
Teach me, star, precisely!

3. Our ancient land! with all our might,
Increasing your ways and means
We’ll stride along, in ample ﬁght
Though not through greater scenes.
As steely ploughs do furrow,
So keels at sea are thorough:
The Danish hand stands steady,
A Viking on watch all right.

2. Teach me, meadow ﬂowers,
To wait for summer showers,
In the midst of worldly woe
To sprout beneath the winter snow!
Teach me, meadow ﬂowers!

Holger Drachmann
3. Teach me, barren heather,Content in any weather,
Shielding there the lark’s brown nest,
To host the song within my breast!
Teach me, barren heather!

168 “Fortune has lately left you”
➤ 92
169 “Like purest waters rise from deepest spring”➤ 138

4. Ocean waves’ profusion,
Teach me my yoke’s illusion,
And like you, as sun goes down,
Reﬂect that peace of His renown!
Teach me, waves’ profusion!

170 “Now the day is full of song”➤ 98
171 “Now, spring is leaping out of bed”
➤ 105

5. Teach me, greenwood, shading
If I were able, aiding
Each who passes by my place,
Friend and foe alike, with grace!
Teach me, greenwood, shading!

172 “The greenwood leaves are light now”
➤ 143
173 “The boys of Refsnaes, the girls of Samsoe”➤ 87

6. Evening sun unblinking,Teach me the art of sinking!
T’ward the depth of night to go

174 “Farewell, my respectable native town!”➤ 96

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2. “I’m soaring so high,So far I behold,
The summer so pleasantWill shortly be present,
Quite soon, I’m told.
Now hear them awaken,
The murmuring streams,
What’s idle is taken
By fear, it seems.

And then be born again to grow!
Teach me, sun, of sinking!
Christian Richardt
179 “Singing illumines”
1. Singing illumines, and therefore it’s pouring
Over your labour serenity’s light;
Singing has ardour, is therefore ignoring
Stiffness and frost as a thaw is in sight.
Singing is timeless, and therefore it’s storing
Future and past in a heap for your eye,
Kindles an inﬁnite craving while soaring
Into a ﬂood of desires up high.

3. My sight goes afar,
I’m singing on light
Of fog that is lifted,
Of mead that is sifted
With red and white,
Of barque that is dancing,Of growing as planned,
Of pleasure, enhancing
The Danish land.”2. Singing unites us and also effaces
Discord and doubt in its glorious surge;
Singing unites us and also enlaces
Obstinate souls in unanimous urge:
Urge for the beauty, the deed, for the purest!
– Someone may walk on its bridge all augustHigher and higher to reach for the surest,
That will not open to other than trust.

4. Of what do you dream
Up there in the blue?
Can things be exciting
Where eagles are ﬁghting
O’er birds like you?
Can ﬁelds us embolden
Or fruit-laden trees
If foe reaps those golden
Returns at ease?

3. Former day’s yearning in former day’s singing
Mournfully shrouds us in afterglow’s gleam;
Yearning for our age’s tone will be ringing
Into posterity’s heartfelt esteem.
Youth of all ages thus meeting in chorus
Gambol in time with the musical throng;– More than we know, even spirits, are for us,
Rocked in the night by our jubilant song.

5. “I’m soaring so high,So far I behold,From brume I can see it
Is coming, so be it,
And will unfold;Now hear them awaken
Who slumbered so fast,
What’s idle has taken
To ﬂight at last.

Bjørnstjerne Bjørnson
180 “Of what do you sing”(180: stanzas 1-2, 4, 6-7)
1. Of what do you singUp there in the blue?
For whom are you trilling?
Is snowstorm fulﬁlling
And dead straw too?
By sun were you chosen?
By cold light enthralled?
The landscape is frozen,
The forest bald.

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6. I’m soaring so high,In joy I beholdThat ancient endeavour
Is cast, then, foreverIn children’s mould,
That legend, undarkened,Is ﬂying again,

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5. You say in sheer indulgence
That love can make one blind,In kingdom of effulgence
The contrary you ﬁnd;
The man has ne’er existed
Who in the end untwisted
That which he ne’er held dear!

So boys who have hearkened
Will leave like men.
7. So far I behold,I sing all the more
Of might disappearing,
Of doves that are clearing
The eagle’s claw,
Of peacetime unfolding
With glorious deed,
Of midsummer holding
The Danish breed.”

6. In here since ancient ages
We loved our peace, our lives,
And by our wives in stages
Our love for love arrives;
If this is life’s great question,
It is the best suggestion
To full-grown Danish men.

Jens Christian Hostrup
181 “This is the revelation”(181: stanzas 1-3, 5-6)

N.F.S. Grundtvig

1. This is the revelation
That lasting love is cleared
In all ordeals’ purgation,
No rust therefore appeared;
To living and preceding
Can Danish hearts be bleeding,Yet never running cold.

TEN LITTLE DANISH SONGS
182 “Two larks in love have nested”
Lively1. Two larks in love have nested,
I know, and say no more;
On heathy soil they’ve quested
Some place that no one saw.

2. Thus love is no absconder,
Will never pass away,
But clear itself down yonder
To fathom life some day,To understand Him clearly
Who is alive sincerely,
Forever love itself.

2. The nestlings are so downy,
Of sweet and lively form.
They’re chirping, small and browny,
The nest is oh, so warm.

3. So it has never broken,
Perfection’s timeless band,
Our chain to God a token
No rust may break, no hand,
But from each link a ﬂower
Will burst with pinions’ power
To greet the Gilded Age.

3. The parents guard their steading
But do not raise alarm.
They know for sure my treading
Won’t do them any harm.
4. I hide behind a hummock.
I’m very, very near.
I’m lying on my stomach
Alert with eye and ear.

4. The chain is a reminder
Like that forget-me-not;
A strong and willing binder;
May freedom be your lot;
So hope for its endurance,
From danger an assurance,
And more its gold will show.

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5. For boy will gather berry,
And fox he comes to bite.
That’s why I am so wary
And keep my lips shut tight.
Harald Bergstedt

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3. Made from air, on wings of eagle,
Soft its kiss, superb to preach,
Forged into a blade so regal,
Humour whetting all our speech.
Strong as stroke of blade, though regal,
Light as maiden’s dance our speech.

183 “Look! The sun is red, mum”
Evenly striding

1. Look! The sun is red, mum,The woods are growing black.
Now the sun is dead, mum,And never turning back.
Foxes pass the willow, mum,
Do lock the hallway door.
Come, sit beside my pillow, mum,And sing a little more!
2. Look! How great the sky, mum,With shining stars at night.
Who will live and die, mum,Upon a star so bright?
Could there be a fellow, mum,Who takes a look at me?
And does he sleep and dwell, oh mum,
In bedding? Could it be?

4. Warmed by our warm-hearted nation
Grows its wealth, as growth we reach.
Mother tongue has its vocation,
Gives us one more mother each.
Warmed by our warm-hearted nation
Danish is a thriving speech!
Helge Rode
185 “Sparrows hushed behind the bough”(185: stanzas 1, 5, 7-8)
Quietly, but not too slowly

1. Sparrows hushed behind the bough,While snow indeed has drifted,
Willows squeak so sadly now
As blizzard’s once more shifted.
Lull-lull, spinning wheel
Firmly mother’s taming,
And the more the wind, we feel,
So more the hearth is ﬂaming.

3. Why is night like that, mum,A bitter, windy spin.
Listen to the cat, mum,It’s mewing to get in!
Gulls and terns are winging now
To ﬁnd a place to rest.
Oh hark, the stars are singing how
My sleep will suit me best!

2. Cracks of emp’reumatic malt
And cards a frisky rattle,
Barrow grunts in distant vault,
The cat and child in battle –Lull-lull, spinning wheel!
Mother’s foot is plying,
Just so long she stops the reel
As baby sister’s crying.

Harald Bergstedt
184 “Silent as a stream’s meander”(184: stanzas 1-2, 4)
Evenly striding

1. Silent as a stream’s meander,
Mirrors heavens out of reach,
Language tells us with its candour
What to learn, and what to teach.
Silent as a stream’s meander,
Pure and gentle is our speech.

3. Father sealed the frame with straw
And rounded up the cattle,
Chafed the shiny hide of boar,
All ended in a prattle.
Lull-lull, spinning wheel!
Father seeks the ingle,
Mother makes a knot, then she’ll
Look up, their smiles can mingle.

2. With no boast and brag, but motley
Like a blooming summer beach,
Language sparkles, smells so hotly
Of our landscape’s every breach.
Silent as a stream, but motley,
Clear and fertile is our speech.

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4. Toddler in his twilight nook
Quite sleepy, almost yawning,
Soon he drops the picture book,Gives tiny hands no warning.
Lull-lull, spinning wheel!
Flames the pot are licking,
Gables give a wailing squeal
And hail on panes is clicking.

186 “The ﬁddler is playing his ﬁddle”
Very lively

1. The ﬁddler is playing his ﬁddle,
How fast his bow can enthrall!
They ﬂock around him in the middle,
The children, the big and the small.
2. The ﬁddler is playing his ﬁddle,
How fast his ﬁngers enthrall:
You youngsters dance round the middle,
A dance you’ll always recall.

5. Mum can hardly see to spin
Nor put the thread together;Hey, the candle’s carried in
And lit to brave the weather.
Lull-lull, spinning wheel!
Fleet-a-wing the spindle
At the joist of pine does deal
Such shadow rings that dwindle.

3. The ﬁddler is playing his ﬁddle,
His patten beats time at the ball.
They dance around him in the middle,
So fast on their feet withal.
Mads Damm

6. From the open hearth, the maid
Swung round the pot, now heated,
In the bed she had it laid,
The cooking now completed.
Lull-lull, spinning wheel!
Supper all entrenches;
Big and small enjoy the meal
On stools and simple benches.

187 “When babies whimper before the candle”(187: stanzas 1-2, 8-9)
Evenly gliding

1. When babies whimper before the candle,
Will no more frolic, will no more dandle
On horseback of any dapple-grey,
It is the sandman who ends the day.

7. Father takes the heavy book,
With God he whispers weakly,
Fumbles at the fastener hook,His amen ringing meekly.
Lull-lull, spinning wheel!
Loneliness ensweeping,Gloom out there is dense and real,
And snow drift higher heaping.

2. And as you feel you are close to sleeping,As through the window the moon is peeping,
The little sandman will whisper low,
“To dreamland now we shall ride, you know.”
3. The sandman holds his umbrella ready
Above your bed till your eyes get leady,But as you’re closing your eyelids, look:
This nice umbrella’s a picture book.

8. Here at mother’s wheel she mostOf all taught me the spelling,
Singing of ‘the heav’nly host’,
And of ‘his grace aswelling’.
Lull-lull, standing wheel;
But its songs we hearken
Sadly to as hearts do heal,
When eventide will darken.

4. The red-topped pixies you’re dimly seeing‘Tween anthills play hide-and-seek, a-ﬂeeing.
The dark green spruces the pixie please,
He knows full well they are Christmas trees.
5. The foaming brooklet – but do you ﬁgure
How it has turned to be so much bigger
With vessels rocking all to-and-fro,
A sunlit ocean where’er you go?

Jeppe Aakjær

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Whets its beak above the farmer’s gable;
Grocer with his spouse,
Glad to leave the house,
Puffs his meerschaum pipe whenever able.

6. The duck is quacking, the frog is croaking,Along the marges – and now I’m joking! –Behind the rush grow some funny gawks
With downy caps on their lofty stalks.

5. Damsels fair anew,
Red and white and blue,
Send their glances out like arrows ﬂying,
And like ﬂags of fame
In the am’rous game
Silken bands from lily necks are hieing.

7. What next! all guardsmen they were, but tiny,
Each with his knapsack, his sabre shiny,
So stiff and straight is the troop, okay:
The sandman paints in his witty way!
8. Should mother’s kiss wake you up, she’s banishedThe sandman; just like a shot he’s vanished.
And do you know where he’s disappeared?
America, I would think – it’s weird!

6. Eventide is near,
Beauties disappear,
Do not catch a cold is my desire.
What a lovely ﬂow,
Gentle spirits glow,
And my heart is beating even higher.

9. While daytime here, children there are sleeping,
The sandman watch over them is keeping;
But when once more we have candles lit,
The sandman’s home, and so that is it.

7. In the night the moon
Silently has strewn
Coins of gold on boughs forever present.
Ah, the beauties left,
I’m of hope bereft.
Going home alone is so unpleasant.

Christian Dabelsteen
188 “Springtime hedge is green”
With youthful emotion

1. Springtime hedge is green,
Cloaks are no more seen,
Sun on rampart maiden cheek caresses;
Oh, how light the air,Yearning sighs out there
Clearly show themselves on silken dresses.

Poul Martin Møller
189 “In peace, I lay me down to sleep”
Quietly

1. In peace, I lay me down to sleep
As birds they do in number;
For you, my Lord, your watch do keep,
O’er my approaching slumber!

2. Eggs the lapwing lays,
Pussy willow sways,
Violets are peeping out so slightly;
Busily the geese
Teach their young in peace,
Magpie wagging tail quite impolitely.

2. I thank you for the day so bright,
Which gives us all such pleasure!
Help all who are in pain tonight,
Your comfort be their treasure!

3. Journeyman and wife
Join the garden life,
In her pale green shoes she’s almost dancing;
How her charms sufﬁce,
Slender foot so nice.
Lads then sell them garlands, how entrancing.

3. Keep in your care, oh God above!
Myself and all my dearest –And keep me in eternal love
To your commandments nearest!
Christian Winther

4. Busily the stork
Stalks a balanced walk,Carl Nielsen Udgaven CN 00051

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Our song must have these respective towers,
For us to feel it is good enough.
As times are changing our manners mellow,
But struggling arts crave a spine of steel;In altar ﬁres ﬂaming white and yellow,
The legends’ forge shall our souls anneal.

190 “Oh, how glad I am today!”(190: stanzas 1, 3-4)
Very lively

1. Oh, how glad I am today!
Beeches ﬂy their ﬂags, I say,Over shores and beaches.
Swallows whistling through the air,Song and light and scent is there
Over Denmark’s reaches.

3. Let Denmark sing! Make its heart outspoken,
For heartfelt language is song and verse,
The nightingale is thereof a token
Like skylarks gathering to rehearse.
The high wind whistles its wrathful ditty,
The shoreline booms out its solemn song;
From heather moor as from crowded city
The song still rises forever young.

2. Peasant’s ploughing pleased his soil,
Crows observe his careful toil,
Look, the beech is waving!
Cuckoos call and ﬁnches sing,Thrushes’ ﬂutes so clearly ring,
Daytime joy a-saving.
3. Forests are the best of halls:
If you get inside their walls,
No return is wanted;
Longer still, and farther in,
Blinded from a dreamy spin,
Yet you walk undaunted.

Kai Hoffmann

FOUR SONGS IN JUTLAND DIALECT TO TEXTS BY
ANTON BERNTSEN
192 Jock Miller and Anne Marie (“Jock Miller was a ﬁsherman”)
evenly, narratively

4. Oh, how glad I am today,
Spring has won its case, hooray!
Darkness was the sinner.
Downy leaves of beech I snatch,
Gladly to my hat attach,
So I am a winner.

1. Jock Miller was a ﬁsherman
Of olden sailor kin,He crossed the oceans big and small
When just a lad within,
He married though, then stayed near home
To ﬁsh just out at sea,
His wife went round to sell the ﬁsh,
Her name was Anne Marie.

Michael Rosing
191 “The Danish song is a fair young maiden”

2. It happened then one winter day
The sea was froze to ice,
Jock went out there to spear some eel
And never reasoned twice;
The wind was rising, coming round,He wasn’t quite aware,
The ice it creaked and broke adrift,
Then Jock he got a scare.

Broad and mild

1. The Danish song is a fair young maiden
A-humming all through the nation’s hall,
Of deep blue offspring, emotion-laden,
Where beech tree hearkens the billows call.
The Danish song with its passion racing,
A bell resounding, the battle’s chime,
It ﬂoods our senses, all thought embracing,A saga’s echo from heathen time.

3. It cracked and then it parted, andIt sighed and groaned and sang,
And Jock he ran as best he could
And over the cracks he sprang,

2. All Zealand’s grace and all Jutland’s powers,
The cloven timbre of mild and tough,Carl Nielsen Udgaven CN 00051

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But at the shore was Anne Marie
With fear upon her brow:
Oh Jock, oh Jock, my poor wee man,
Oh what will happen now?
(Oh Jock, poor wee man, oh how, Jock! Oh)

194 The One and the Othernot slowly, march tempo

1. The one studies Latin and Greek until late,
The other digs ditches out there,
One’s workload is rough, and another’s is straight,
But both are a human affair.

4. But Jock he made it back to shore
And plodded staidly home
He scolded Anne Marie and said:
Where did your senses roam?
I’ve crossed the oceans big and small,
Came always safe ashore,
How did you think that I could drown
At such a little ﬂaw?

2. The one can reside at a ﬂourishing farm
The other break stones on the way,
The one can be king of the parish calm,
The other has nothing to say.
3. The one has too much and the other too scant,But some day both of them will be gone,
And then it’s as broad as it’s long to grant
That you’d rather have been the one.

193 Our Daughter (“She is a blithe and decent girl”)
Mildly and heartfelt

1. She is a blithe and decent girl,I hope you have detected,
We felt so rich with this our pearl
That day she was expected.
Her eyes they are so clear and blue,
And when her joy’s consuming,
They look like tiny stars, the two,And both her cheeks are blooming!

195 The Haypole (“This farmer was a callous bloke”)
1. This farmer was a callous bloke,
old fogey vile and mean,
And often when at harvest time
we joined him in between,
Abusing us he let us hear the load was much
too tight,
He couldn’t quite get ready then to lay the
haypole right.

2. She handles roughly us two twits,
This little dear of ours.
From toil we almost lose our wits,
But still we ﬁnd the powers.
Though more polite she ought to be,
Like parents, so their daughter.
She takes her time, but wait and see
What’s coming from that quarter!

2. From early morn till dead of night he bustled
all about,
He talked but little with his wife
for lack of time, the lout.
She minded house and garden
and had kids of slight renown,
She walked so heavily
as if a haypole weighed her down.

3. We care for her as well we can
And ask for God’s assistance,
Maybe it’s not too bad, our plan,
When taken from a distance.
But what will happen to our childAt last when we must leave her,
The Lord decides and he is mild,
So he will not deceive her.

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3. With all its drudgery his life
turned only worse and worse,
His glee grew thin, but thick became
his wallet and his purse.
The thought of peace in this man’s grave
made anybody frown
If not a solid stone
just like a haypole weighed him down.

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Friend is true, blue skies they stay,
Maid has sweet demeanour!

CONTRIBUTION TO ‘THE FOLK HIGH SCHOOLMELODY BOOK, SUPPLEMENT’

5. Here we’ve harp, and here we’ve song,
Blithesome like the weather!
Here we’ll slumber on along,
Brotherly together!
Here we’ll live and here we’ll die,
Follow old endeavour!
Thus, “Long live the king,” we cry,“Denmark live forever!”196 “Teach me, star, precisely”➤ 178
197 “Singing illumines”➤ 179
198 “Of what do you sing”➤ 180

B.S. Ingemann
199 “Denmark with your verdant shore”(199: stanzas 1-3)
1. Denmark with your verdant shore
At the glitt’ring ocean!
In your bosom as before
Love and calm devotion;
Birds are singing in the sky
Over barrows ﬂying;
But in dales the smile is shy
From the violet’s eyeing.

200 “This is the revelation”➤ 181
201 John the Roadman (“Who’s there behind the shelter”)➤ 22
202 “We mention a name”
1. We mention a name, –Now seething comes to us
In cornﬁelds of gold,
It’s playing in woodland,
It’s smelling of mould.
Vibration of sunlight,
Dew falling on bough,Through mountain a sough.

2. Danish ﬂowers east and west
Fathers are embracing;
Ardour ﬁlls the offspring’s breast
At his cradle’s placing.
In the Danish fathers’ trails,
Under shading beeches,
Where the bird of trust prevails,
Light of concord reaches.

2. We mention a name, –Now breaker comes to us
With life from the sea,
With whaling and bird life
And vessel alee.
The call and the answer
Afar in ﬂight– a world of delight!

3. One is father to us here!
Common, too, our mother:
Denmark is our mother dear,
Denmark’s son our brother!
People share one heart aﬂame,
Shining like a gilding!
Shout with joy your father’s name,
Ancient tribe of Scylding!

3. We mention a name, –Now mingles with noises
Of seething in corn,
Of whaling and bird life,
A watchman’s horn.
The world often listened,
Just standing about,
As horn tone burst out.

4. Hail to thee, our king, our land
At the glitt’ring ocean!
Flower islands! Verdant strand!
Springtime beeches’ motion!
Here the bird of trust is grey,
Forebear’s barrow greener,

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Knut Hamsun

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They’ll wait for the hour when redemption
will yield
A yearning for joining the chorus,
Like larks, nesting hidden in clover-patch ﬁeld
Ere dawn with its ﬁrst light breaks o’er us.

203 Song of the Sea (“Seas surrounding Denmark”)➤ 31
204 “We, sons of the plains carry dreams in our minds”(see also 32)

Ludvig Holstein
1. We, sons of the plains carry dreams in our minds,
They turn into song when awaking,
They rise from the summer night mist of all kinds,
Like skylark with ﬂight in the making.
They burst out from longing as spring’s on the run
Like hyacinth, crocus unfolding,
And break like victorious smiles of the sun
The cold grip that winter is holding.

205 “There out of the fog looms my ancestors’ land”➤ 107
206 “Do you feel how your mind from the sunshine
grows lighter”
1. Do you feel how your mind from the sunshine
grows lighter,Do you see how it’s glowing in word and in thought,
How we gather in mem’ry and hope even tighter,We sons of the North, as one tribe we’ve been
wrought!

2. Then over the redolent acres they sail
Where seeds out of spring soil can trickle,
And passing the forest they gleefully hail
The bay that is twinkling, but ﬁckle;
They tremble in April’s most wonderful tone,
In gardens and woods they would quaver
While taking the hopeful delight from unknown
And reticent smiles as a favour.

2. Look, they’re ﬂying in ﬂock, fabled swans of
tradition,
Their song made our dreams of toil and arms
understoodOver Denmark’s lowland and Iceland’s emission
And Norway’s mountains and Sweden’s wildwood.

3. Embracing the evening of May that’s in bloom
On branches and hillsides, they tumble,
And into the dewdrops the name, we assume,
Of only the loved one they mumble.
This is not the morning, this is not the night,
Odd thoughts in the brume have been shaken.
A heart will be pounding, and way out of sight
The summer night’s singer will waken.

3. Can we ever regain what was lost over ages
As our strength was enfeebled, and blood, then,was spilt?
Can we simply forget how hostility rages?
Can we slay the poltroon who created our guilt?

4. Sir Oluf rode cross the bridge of elves,
One midsummer’s night; they were sliding,
Four horseshoes all glistening golden themselves– Sir Oluf, say, where are you riding?
Whereto will you ride before glimmer of dawn,
And where were you bred by your mother,
And whom did you suck and to whom were
you drawn,Your kirtle’s from where? Why bother?

4. Yes, we can if we want to, and following stages
Will see us as brothers forgetting our ﬁghts;
And this urge being deed, our desire presages
A return like Cnut Lavard’s and Margret’s heights.

5. O, magic of summer night mists of all kinds!
O, memories, tempting, bewitching!
We, sons of the plains, carry dreams in our minds
And know not ourselves when they’re switching.

6. Yea, the jubilant sun in my mind will glow brighter
For I see how it’s growing in word and in thought
That we gather in mem’ry and hope even tighter,We sons of the North, as one tribe we’vebeen wrought!

5. This desire to win, o’er resistance to trample
And stand up erect in the freshness of spring,
By amassing the power to lead by example
The people whom God gave the talent to sing.

Jónas Gudlaugsson

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2. Waves are making bafﬂing swings,
A carefree young horde,
They break to pieces many things,
But this they can afford.
They are like the sailors bold,
Who squander all their pay, I’m told,
Thus never save a pension;
Their lives with ups and downs unfold,
Why stow away in musty hold
What cannot last, despite the best intention?

207 “Jubilation, shouts of glee”
1. Jubilation, shouts of glee
Come with springtime greeting,
Swallows tell with certainty:
Frost is now retreating!
Land and sea and greenwood trees
Far and near adorned to please,
New creation’s wonder!
Strength in ev’ry body part,
Healed is now each broken heart,
Happiness hereunder.

3. Dance untroubled, jolly boat,
The seaways along;
Wet the nose or sore the throat,
Both can be cured – what’s wrong?
Billow’s body, bent and wet,Upheaves its shoulder now to set
The sun again in motion.
The weather will be ﬁne, I’ll bet,
Hoist up the mainsail then and let
Us sail away – good morning! – on the ocean.

2. Flower splendour of the earth,
Forest decoration,
Birdsong give us magic mirth,
Pleasure and elation;
Gales at sea subside, deplete,
Air no more is plagued by sleet,
Pearls of dew in ﬂushes
Gather radiance of the sun
Into strings, and one by one
Round the grass and rushes.

Holger Drachmann
209 “My home, where my forefathers’ tread”

3. How Our Lord is good and wise!
How the world’s delightful!
How our minds and spirits prize
That Our Lord is rightful!
Big and small He did create,
Every herb in ﬁelds to date
Shape and shade foreseeing.
Day has conquered night for good,
Greet it in a cheerful mood,Thanks to God for being.

1. My home, where my forefathers’ tread
Resounds each day from bygone ages,
Where present time a link instead
Of chain from there, its former stages!
My home where kindred’s inner gold
Was left me with the mead and mould!
2. My home where light so softly shines
And, driving shadows back, assuages,
Where all the bad blood now declines
Which is derived from evil ages,
Where sighs from centuries of wrong
Amended into freedom song.

Morten Børup
208 “Winds are so employable”
1. Winds are so employable
And rigged is the boat,
Things are so enjoyableAs long as you’re aﬂoat;
Don’t wear glasses anyway,
Above all, not those dark and grey,
But use the sunlight’s vision,
Then sea will smile the long blue day
And it is very hard to say
Why nakèd dunes can be so Elysean.

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3. My home, one of a thousand homes
Which Danish peasants have erected,
Where vigorous the sunlight domes
O’er shadows ever are respected.
My home! In song I praise your worth,
You are my paradise on earth!
Peder Rasmussen Møller

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2. A noble soul of storm is not afeared;
The brave man will stand upright through thethunder;
He ﬁnds his way through fog, though dense
and weird,
In darkest night beholds the starry wonder.

210 “There is a hoary hovel just outside this our town”
1. There is a hoary hovel just outside this our town,
The most unusual spot you ever spotted,
With bursting olden alder and willow aroun’,By sprouts both in and out it is dotted.
Yea, walls are built with clay and the roof ismended well,But nowhere else is there so wonderful, so sweetand swell,
And whether you can wholly see it, trust me
when I claim
That pomp of palaces, compared, is humble all
the same...
For me, then.
2. There comes the ﬁnest maid, like a spindle erect,
With wavy hair, with limbs so comely mated;
Most certainly there’s no one like her, in effect,
These words are by no means exaggerated.
She is so fair and stately, she is so good and kind,
Like silver is her voice, like gold the words ofher mind,Yea, it’s all right if e’en the King turned up withdamsel ﬁne,What would that lady be, however, as compared
to mine...
For me, then.
3. And now we shall be wedded as springtime
comes along,
With catkins the old pussy willow ﬂowers,
The roses bud in hedges and there is lovely song
From day break and until the early hours.
Then you will get to see what a feast and what
uproarThat suchlike display wasn’t come across before,
Yea, it’ll be the very best that until now’s been seen,
Yea, it’ll be the very best that until now has been...
For me, then.

3. Raise thus your visage! it was never born
For hanging down despondently and lonely.
Down there you will but ﬁnd what is forlorn;
On high are trust and hope and rapture only.
4. In God’s own image, you His wish fulﬁll,Your feeble voice itself from His resounding.
From dust your dust, from heaven comes your will,
In gloom’s embrace, your soul brings lightsurrounding.
Steen Steensen Blicher
212 “Now you must ﬁnd your path in life”➤ 88
213 Song behind the Plough (“In shining sun I steer myplough”)➤ 14

SEPAR ATE SONGS
214 To the Queen of my Heart (“Shall we roam, my love”)
1. Shall we roam, my love,
To the twilight grove,
When the moon is rising bright;
Oh, I’ll whisper there,
In the cool night-air,What I dare not in broad day-light!
2. I’ll tell thee a partOf the thoughts that start
To being when thou art nigh;And thy beauty, more brightThan the stars’ soft light,
Shall seem as a weft from the sky.

Mads Hansen
211 “If torrents rush against you – dare resist!”
1. If torrents rush against you – dare resist!
If night is gloomy – young man! dare desire!
Sink not, but combat thunder’s crimson ﬁst!
With rain at hand, for shelter don’t retire!

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3. When the pale moonbeam
On tower and stream
Sheds a ﬂood of silver sheen,

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One glance of thy dark eye,
One smile of thy love.

How I love to gaze
As the cold ray strays
O’er thy face, my heart’s throned queen!

3. From the storms of this world
How gladly I’d ﬂy,
To the calm of that breast,
To the heaven of that eye!
How deeply I love thee
‘Twere useless to tell;
Farewell, then, my dear one,My MARY, farewell.

4. Wilt thou roam with me
To the restless sea,
And linger upon the steep,
And list to the ﬂow
Of the waves below
How they toss and roar and leap?
5. Those boiling waves
And the storm that raves
At night o’er their foaming crest,
Resemble the strife
That, from earliest life,
The passions have waged in my breast.

Jeremiah Joseph Callanan (The Poemsof J.J. Callanan. A New Edition, with
Biographical Introduction and Notes,
Cork 1861, pp. 86-87)
216 Bonnie Ann (“Ye gallants bright, I rede ye right”)

6. Oh, come then and rove
To the sea or the grove
When the moon is rising bright,
And I’ll whisper there,
In the cool night-air
What I dare not in broad day-light.
P.B. Shelley

1. Ye gallants bright, I rede ye right,
Beware o’ bonnie Ann;
Her comely face sae fu’ o’ grace,Your heart she will trepan.
Her een sae bright, like stars by night,
Her skin is like the swan;
Sae jimply laced her genty waist,
That sweetly ye might span.

The Shelley Papers Memoir of Percy Bysshe
Shelley and Original Poems and Papers
by Percy Bysshe Shelley, ed. T. Medwin,
London 1833, pp. 123-125

2. Youth, grace, and love attendant move,
And pleasure leads the van:In a’ their charms and conquering arms
They wait on bonnie Ann.
The captive bands may chain the hands,
But love enslaves the man;Ye gallants braw, I rede you a’,
Beware o’ bonnie Ann!

215 Serenade (“The blue waves are sleeping”)
1. The blue waves are sleeping;
The breezes are still;
The light dews are weeping
Soft tears on the hill;
The moon in mild beauty,
Looks bright from above;
Then come to the casement,
Oh MARY, my love.

Robert Burns (The Life and Works ofRobert Burns, ed. Robert Chambers,
Edinburgh 1852, vol. 3, p. 110)217 “My soul is dark”
1. My soul is dark – Oh! quickly string
The harp I yet can brook to hear;
And let thy gentle ﬁngers ﬂing
Its melting murmurs o’er mine ear.
If in this heart a hope be dear,
That sound shall charm it forth again:

2. No form from the lattice
Did ever recline
Over Italy’s waters,
More lovely than thine;
Then come to thy window
And shed from above,

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A seldom lumberman’s cart subsides,
Through deep hollowed ruts returning.

If in these eyes there lurk a tear,’Twill ﬂow, and cease to burn my brain.

3. It leads to nowhere you will behold,Dragging along, and blindly;
A ruggèd relic from days of old
It is always remembered kindly.

2. But bid the strain be wild and deep,
Nor let thy notes of joy be ﬁrst:
I tell thee, minstrel, I must weep,
Or else this heavy heart will burst;
For it hath been by sorrow nursed,
And ached in sleepless silence, long;
And now ’tis doom’d to know the worst,
And break at once – or yield to song.
Lord Byron (Works of Lord
Byron, ed. William Anderson,
Edinburgh [1850], vol. 1, p. 221)

4. It leads by the place where foxhunter’s horn
Alarms every hare that hears it
To where the deergrass does duty as corn,
And danger no more nears it.
5. The burdock towers undauntedly
As were it queen of the quarter
Where nettle and fern all golden you see
As sunlight glints on the water.

218 The Song of the Guide (“On heights and on slopes myheart is set”)

6. But in the midst of banished kin
That knives and scythes are removing,
The graft of oak, to the thralls therein
A prince it is – and improving.

1. On heights and on slopes my heart is set
As soon as the cuckoo starts calling,
At mountain pasture we’ll both be met
With evening sunlight, come, join me yet
While valley’s dark is falling.

7. – Here is so quiet, so full of calm
As if all were here united
And yet there’s done atrocity’s harm,
In secret everyone spited.

2. Along the path is a gloomy hurst,
The tuckaway haunt of some fairy.
You open your mouth, and you’ll be cursed,
Nay, even the nix, his harp at ﬁrst
Masterful, now is chary.

8. Behind the hemlock’s umbellate lace,
Among lilies of the valley
The spider’s spinning its web in place
While hooking its claws to sally.

3. But up in the mountain rings of glee
Resound as if echo-laden,
Like tinkle bells they’re alluring me,
With dulcimer there on pasture lea
Seated my fair handmaiden.

9. You ﬁnd the rowdy races’ strife
Beneath all the docks decaying,
As well by poison as by the knife
Behind the moist leaf there’s slaying.

J.S. Welhaven219a “The ancient woodland road I like well”
1. The ancient woodland road I like well,
It looks just a bit dejected
Most often as t’wards eve I dwell
And red in leaves is reﬂected.
2. It’s quite decrepid and so it hides
When rays of the daylight are burning.

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10. The war that’s waged is completely hushed
Where vipers creep out of shelter
As if no other attack was rushed
Than breeze-blown leaves in a welter.
Christian Richardt
219b “The ancient woodland road I like well”➤ 219a258

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And so shatter the uneasy vessel,
I can breathe like a spring wind on ﬂower, on tree
And awaken them into redressal,
I can sink like falling twilight the lea andmead along,
I can ring like any note in the skylark’s
morning song,
I can dream like bud or eye under shelter of leaves
And open like a rose that the sunbeam retrieves,
I can quiver like dew on the leafage of the beech
And catch the sheen and dwindle within
sunlight reach,
I can brood like an umbrage in grove and in wood,[I] can wave like a scent of lilies, strong and good,
I can tower like a wave, I can ripple like the streams,
Delightful to live in the realm of my dreams.

220 “All the developing shadows”
All the developing shadows
Are woven together as one,
Lonely and bright in the heavens
A star that shines second to none,
Clouds have their gloom-laden dreams while
sleeping,
Eyes of the ﬂowers from dew are weeping,
Evening breeze strangely soughing,
Linden is bowing.
J.P. Jacobsen
221 Anxiety (“Hold on to me, around me”)
1. Hold on to me, around me,Your arms so soft surrounding;
Hold on while still your heart isWith blood and warmth abounding.

J.P. Jacobsen
223 “Ne’er may his words be forsaken!”
1. Ne’er may his words be forsaken!
Never forget the bliss they were concealing!
Calling my name with such feeling
That, like an echo, my voice should awaken.

2. And soon we’re separated
Like berries on the hedges;
And soon we’re disappearing
Like bubbles, without pledges.
Emil Aarestrup

2. Here where seclusion is reigning
I’m just the mountain, the silent, the soundless;Answers of old have turned groundless –Gone is the voice and my echo is waning.

222 The Realm of Dreams (“How impressive to live in therealm of the dreams”)
1. How impressive to live in the realm of the dreams,
What I want, I can do in my sleep,
I can play like the ﬁsh on the seabed, it seems,
See the spellbinding pomp of the deep.
I can build like any butterﬂy in leaves of the rose,
I can romp like elves while bathing in a dewdrop
I chose,I can climb into the mountain with a blazearound its summit,
I can rock upon the rock streamsas they red-hot
ﬂow and plummet,
I can hurry over waters like the Spirit once before
As jet-black waves are rolling on top of dark ones,
I can see the darkness yield to the radiance ofthe light
And with the earth be jubilant at dawn’s
resplendent sight,
I can rush like a gale over land and over sea

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3. Mem’ries of that are still pounding,
Deep in the mountain breast now it’s imprisoned;
Never set free, it has wizened.
Wizened its ring, in my heart it’s resounding.
Frederik Paludan-Müller
224 Danish Patriotic Song (“Sing, Danish man! With all
your might”)➤ 167
225 “I truly like your easy gait”
1. I truly like your easy gait,Your winking eye, your voice so great,
I think that you are pleasant, too,
No wonder all are friends with you!
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Lay down the horrifying steel
At menhirs for the brave one!
My bones will ﬁnd at last, I feel,
Their grave, but cannot crave one!

226 Temperance Song (“On to freedom, to light and topleasure”
March tempo

1. On to freedom, to light and to pleasure,
On to cherish our realm, all who can,On with temp’rance as watchword and treasure,
On in unity, woman and man –We shall reach our goal, we know,
Down this very road we go,
On to triumph which we trust in time will show.
2. On to ﬁght! Independent descendants
Over banner of freedom stand guard
And want freedom for all the dependents,
By oppressive intoxicants marred.
Heave the yoke’s encumb’ring weight,
Heal the wounds and save the pate,This the ﬁght for free-born kin and future fate.

I picked the fairest rose in life,
And Freya’s name be praisèd!
Come dearest Death! I’ll end the strife,
And then my eyes turn glazèd.
Fly, dauntless bird! Fear not the way,
Take wings from ﬁnest measure.
You’ll soar to an eternal May
And to eternal pleasure.
Adam Oehlenschläger
229 The Daffodil (“Easter bloom! A potent drink”)
1. Easter bloom! A potent drink
From your yellow cup conveys me
Quite a marvel and, I think,
Will refresh me and will raise me:
Thus the swan’s wing, swan song teems
Out of everything, it seems;
Wakening I shall see the perishedThroughout Easter dawn be cherished.

3. Just as springtime, with nature unfolding,All ﬁnds warmth in the sun’s glowing rays,
With our cause and compassion upholding
We help others toward better days;
Joy replaces mother’s woe,
Smiles let children’s crying go,
Life and light in homes where darkness was the foe.

2. Oh, how dear you are to me,
Garden bloom for village peasant!
More than roses’ worth to be
On our fathers’ graves at present!
True your message is of spring,
Of the jubilee you bring,
Gives each noble dead protection
And transﬁgured resurrection!

4. Truth will glister, our oncoming treasure,
Health will follow our cause in its trace.
On to freedom, to light and to pleasure
For each suffering soul with a case.
Thus in tune with all that’s right,
Total victory in sight
All in time we will unite – to deed and might!
Moldberg-Kjeldsen

3. Winter gale and rain and hail
Roar across the whole creation;
But I’m standing as a tale
Of a ﬂow’ring in our nation.
On me nature never spent
Summer splendour, roses’ scent!
Just as well that they’re elated
Who love all I’ve vindicated!

227 Song of the Young (“The stress of years could not jadeour mind”)
March tempo➤ 155
228 Halloge’s Song (“My helmet’s weighing far too much”)
My helmet’s weighing far too much,
My shield makes no one fear me;
I have, still young, a fateful touchThat Death will soon be near me.

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N.F.S. Grundtvig

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230 Child Welfare Day Song (“We boys and girls wewaken”)

231 Catholic Song of Youth (“Be blest forevermore, ourLord, our God”)
With a joyful expression

1. We boys and girls we wakenLong before the rising sun.
Then we lie still and listen
To our heartbeat, everyone,
And to a bird adorning
Out there a brilliant morning.

1. Be blest forevermore, our Lord, our God,Who led us out of earthly thraldom’s plodBy father’s hand and to your home within,
Releasing us from ‘straining cords of sin.
2. Be blest because you on this earth were born
To cure whatever should be found forlorn –All have I lost, but even now it’s mine,
If only I do wish it to be thine!

2. We boys and girls remember
Whispering from bed to bed
As mum gets vexed with Polly
And dad gets mad with Fred,
They tell us we must slumber
And dream of trees without number.

3. Oh, blood of rose that blooms beside the church
For fatal wounds a penance we may search,
Hail thee, oh Christ, our friend, our way, our light –When bread is broke, we see you in the right!

3. We boys and girls we’re jumping
Barelegged out of bed, you know,Competing to get dressed then
And nobody is slow!
This teacup! ouch, it’s burning!
Freezing hands feel blood returning!

4. Let bliss die down, so life may go astray –Beyond the clouds there is another day,At midnight hour a star was lit and sent
As lantern for the splendid Sacrament.

4. We boys and girls we’re trudging
Pit-a-pat! our way to school,
We’ll write, do sums, and spell, oh,
How long the teacher’s rule!
The day, forever scrappy,
The last bell gone, we’re happy.
5. We boys and girls we’ll twitterIn the quad and ‘cross the street,
And birds that know not of it
May think that spring’s complete,
We have the spring inside us
Which never will misguide us.

5. In Bethlehem, right there in donkey’s stall
We meet one being who will never fall –Our Virgin Mary, guiltless slender maid,With mother’s hand brush off each tear we paid!
6. Where Peter is we also wish to be!
Within his shade we’ll live for him to see.
He is the rock on which we’ll build and prize.
To whom, oh Lord, should we turn otherwise?
Johannes Jørgensen
232 “On moorland barren, level”
Slowly, though striding➤ 39
6. We boys and girls we’re praying
Now for all the poor and small
Who may in gloomy places
Distress and cold befall.
Let us all both here and yonder
In song and sunshine wander!

233 “Preserve your soil, each Danish man!”With dignity, but not too slowly

1. Preserve your soil, each Danish man!
Harvesting weather’s rage began.
Now shoals of herring near your shore,
And barns are full as ne’er before.
May peace and quiet e’er increase,
You decent, Danish man of peace!

Johannes Jørgensen

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6. Each tempest plays God’s very game
While blowing e’er so wild,
However roaring it may burn
Each blaze, though, is his child.

2. Now eagle, vulture, falcon ﬁght;
Safeguard your children day and night,
Protect their little hideaway
Against the brutal birds of prey;
Storm will give way before too long
To sun and peace and warbling song.

7. When all the world is casting lots
For honour, life, and land,
The outcome stems from God’s resolve,
His angels are at hand.

3. Enclose your croft, and safely, too!
Strife’s for the many, peace the few.
Prove, for the world to know and see,That you want peace and honesty.
Raise over Danish ﬁeld and strand
Your cross of white for peace at hand.

8. If you each day profoundly trust
His love for mortal clay,
Then sleep and rise the way he likes,
Lead awful threats away!

4. Fence in your house and home and earth,Shield all this country, all its worth,Some peaceful day before the end
You’ll ﬁnd your enemy a friend.
Shelter your soil, each Danish soul!
So keep our land and people whole.

9. Our faith it is our fortress strong,
Its spire as hope is prized,
We gain the Holy Spirit there
With Jesus, when baptized.
N.F.S Grundtvig

Anders W. Holm
235 “As dew on grassy acre”
234 “Are you discouraged, dearest friend”
1. As dew on grassy acre,
Thus fall the words of life
On deathbeds from our Maker
That hope and trust are rife;
Support and consolation
Will then forebode salvation
Before the closing breath
Instead of bitter Death.

1. Are you discouraged, dearest friend,
Believing in your Lord,
With childlike prayers to his son,
The Saviour so adored?
2. Look into Heaven’s Kingdom then,
Beyond the clouds so grey,
Where in our Father’s righteous hand
Just everything will stay.

2. As sun that sets out yonderIn evening’s pale blue sea
As birds will ever fonder
Be warbling at the lea,
Thus will, all reconciling,That soul be kindly smiling
Who feels that with his care
Our Lord is always there.

3. Look out across the earth as well
A child of God who’s sureThat all will be of use to thoseWho have God’s love secure.
4. A saying goes with common folk:
Each devil has his life;
Be certain, though, each man has lost
Who challenged God in strife.

3. As all our body shivers
In summer morning light
While morning star delivers
A new day shining bright,
While summer day is breaking
With white clouds in the making,

5. God’s angels are so many kinds
As in a year the days,
What his commandments signify,
Exactly, he conveys.

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Trust me well,I am your music and song.

So is, by life enlit,
Our ﬁnal shiv’ring ﬁt.
N.F.S. Grundtvig

2. Be not afraid to dwindle,
You’re shielded by winds of spring.
All you have done will kindle
And sparkle in thousands that sing.
As you sing, I say, right here,
You are there, too, soul so sheer,
Far as well as near;And, when one day you do quit,
Then you will
Sparkle still,
Full of beauty, spirit, wit.

236 Children’s Song (“Come today and join the chorus”)
Somewhat stridingly

1. Come today and join the chorus,
End and mean’s a ditty’s worth,
We shall drive away before us
Weight of life with tones and mirth,
Banish winter’s dark morasses
By our voices light and strong –As the lovely spring day passes
We shall sing this children’s song.
2. When you looked yourself, if ever,Deeply into children’s eyes,
You’ll have glimpsed it, for you nevermissed that sky-blue light arise –See how this small heaven switches
Smiles can change to tears so loud,Smiles like starry vault of riches,
Cries like any rainy cloud.

Helge Rode
238 Study on Nature (“Sunshine over the neighbouringyard”)
Light, in unison and unthinking

Sunshine over the neighbouring yard,
Low-rise are outhouse and dwelling,
Room for a midden, a two-yard patch
Of fertility smelling.
All of this yard takes care of itself,
No garden path, not any;
But it still owns one gooseberry bush
Which is as good as so many.
Mummy today has very near hid
Patch and midden completely,
For all her bedding is spread in the sun,She has arranged it so neatly!
Children quite merrily bask as well,
There midst the pillows a clutter,
Each one a thick piece of bread in hand,
Puts it away with the butter;
Butter melts in the burning sun,
Slumber slowly is showing,
Proudly the rooster thrusts out its head,
Swaggers and struts, a-crowing.
Children, however, bask,
Slumber slowly is showing.

3. Filling children’s minds with pleasureThis is up to one and all,Childrens’ eyes are such a treasure,
Therefore songs today enthrall.
And whene’er your glance reposes
On a child who’s dear to you,
Ponder how that smile discloses
All the joy you gave him, too.
Johannes Dam
237 Ariel’s Song (“E’en when tempest oppresses”)
Not too slow

1. E’en when tempest oppresses,
The ether is free and clear.
Music, Ariel stresses,
The gods’ own answer, now hear!
I shall whisper through the storm,
Through the cold come light and warm,
Hide me in your form,
Did you think your hope was wrong.
Ariel,

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Hans Christian Andersen

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240 Flower Lay (“Denmark’s summer went along”)

239 “The South I’m leaving”
With yarning emotion

Lightly and quickly

1. The South I’m leaving,Its sun, its ﬂowers,
Without retrieving
Its thorns’ distress.
Within my powers
I shall admire
In song, with lyre
Its ﬁeriness.

Denmark’s summer went along –Sunlit ﬂowers sang a song:
Kiss me light! Kiss me tight!
Blend our pollen right!
Yellow, red, and white, and blue
Sang: It’s time! Hither, too!
Round about the ﬂying bee
Made as not to see.

2. This ﬁre neverWill end, however,Thus my endeavour
Is heading north.
There summer powers
Bring beauteous ﬂowers
In sun, in showers
For ever forth.

Mr. Bee, a busy man,:/:Flies around as best he can,Loading honey in his boat,:/:Keeping it aﬂoat.
Kiss me light! Kiss me tight!
Take my pollen, come what might!
Flowers sang in grass anew,
Yellow, red, and blue.

3. There cool the breezes
What sun ignited,
There linden eases
The pelting rain.
What summer lighted
The breezes smother
Till spring anotherYear shows again.

Flowers sang to greet the bee:
Spurn me not! Turn to me!
Kiss me light and kiss me tight!
Spurn me not, but turn to me!
Kiss me light and kiss me tight!
And blend our pollen right!
Ludvig Holstein

4. What fastest dwindles
The keenest spindles
In song that kindles
All sweet I know.
Thus I’m returning,Northward my yearning
To sunshine burning,
And fall of snow.

241 Christianshavn (“King Christian looked from his
castle gate”)
With dignity, but not too slowly

1. King Christian looked from his castle gate
With a mighty stick in his hand,He mordantly gazed at the wind-swept strait,
So far this was what he had planned:

5. My tones will hover,
They’re quite amazing,Though cold may cover,
They’ll strongly glow.
Elsewhere I’m praisingThrough song and leisureThat heartfelt pleasure
The South would know.

2. Right here an exchange in ‘his usual style’,
Cross the stream a new bridge he saw,
And there – as his eyes lit up with a smile –A ﬁnished town on the shore.
3. A fortress indeed ‘gainst hostile surprise,
Still, not only that: a port,

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This land that attracted its people’s belief,This is Denmark!

A trading centre with toll and excise,
A town with his name, he thought.

3. This land they have loved – like we do – sometime,
Our souls have the selfsame devotion;
When listening no more to the warbling chime
We hear then the voice of the ocean;
Our yearning rides on o’er the billows’ foam
While skylarks and starlings and sparrows
Tell all men that this is our heart’s own home
Where forefathers sleep in the barrows.
This land that possesses our deeds and our names
Embraces us lovingly as it proclaims,
This is Denmark!

4. Mikkel Vibe’s house was erected ﬁrst
And more buildings came in a rush,
In glaucous canals ships even would burst
Each year with their pennants so ﬂush.
5. ‘Tween the harbour’s bluing, billowing stream
And willowy rush of the moat
There now lies the township – an early dream
Today in the clamour aﬂoat.
6. The town has assumed the mood of the king,Is young despite three hundred years, –It’s hinted that idyll’s a dying thing
If plenty of room appears.

Axel Juel243 Dawn (“Dark is failing, day prevailing”)
Solid and digniﬁed

7. What rot! – let yourself expand and be seen,
For then you’ll retain your desire
As long as you own this your rampart green
As well as Our Saviour’s spire.

1. Dark is failing,
Day prevailing,
Bells are pealing high the morn,
Ghost horse stumbles,
Nation tumbles
Jubilantly into dawn.

Ove Baudiitz
242 Denmark (“We dote on our ﬂowering native land”)
1. We dote on our ﬂowering native land,
Each forest, each hill, and each hollow,
Our walk always ends at a deep-blue strand
No matter what path we may follow;
A shelter is ready for one and all
And no one gets lost while strolling,
From town to the next can be heard the call
Of church bells consolingly tolling.
This land that has fostered each amiable mind
And smiled all its calm into hearts intertwined,
This is Denmark!

2. Eyes see golden
Gems beholden
To old Slesvig’s darkish mould.
Hearts a-quiver,We deliver
The ancestral fam’ly gold.
3. Freya, summerTide a comer,
Far outspread her golden hair.
Woods in motion,
Sunlit ocean
See elation’s guardian there.

2. When realms that emerged for in ﬁght to die,Were buried, in darkness dejected,
Then slumbered afar under cloudless sky
Our Denmark, by ocean protected.
It wakened and knew that its heart would beatWith pulse of the thousand beaches, –And crossing the ocean the Danes and their ﬂeet
Contended for rule of the reaches.
They governed in might, – be it ever so brief,

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4. Ended sorrow,
Joy tomorrow
Comes despite desire or shame:
We’re with motherAnd each otherSweetly humming Denmark’s name.
Hansigne Lorenzen

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4. Work is in mind and matter united
Closely as are the nerves and the skin.
Hidden ideas then hands have incited,
And from a dream the deed may begin.
Foreman and lawman, sailor and squire
Gathered in labour’s fortuitous name,
This is the life that Danes do desire,
Each his value and all share the fame.

244 “The Danish bread, it grows on plains”➤ 139
245 “Sleep sweetly, little Sonja!”
Gently and gracefully

1. Sleep sweetly, little Sonja!
Now evening time is here!
And when once more you waken,
The sun will then appear.
Those eyes of yours, so small and blue,
Shine bright as little suns – yes, two.
Sleep tight, oh little Sonja,
To all of us you’re dear!

5. Exploit abroad, let home be the station!
Take care that ne’er your wits are ignored.
Augment our culture, new to the nation,
Watching and working by spark of the Lord.
Soil or sensation, hatchet or hammer,
Toil will be loved with some humour aﬁre.
Sparks ever blazing from Danish clamour,
Deed may live on though tool may expire.

Carl Nielsen ?
246 Song for Danish Labour (“Food, clothes, and vessel,tent tight and felted”)

Valdemar Rørdam

Digniﬁed and brisk

247 “Free language of our mother”
1. Food, clothes, and vessel, tent tight and felted
We have since early stone age obtained,
Each generation drifted and melted,
Bloodline endures and the works have remained.
We set our minds to law and to leisure,
Finished much more than the ﬂint axes’ form;
Learning and loan got weight from our measure
Ages prior to Harold and Gorm.

1. Free language of our mother,
Sound it cheerful with each other!
By a fraction we’ll in action
Better that of our extraction,
And in step so strong a song
We’ll back up tradition,
And in that we shall succeed;
On our mission
Meeting Denmark’s need.

2. Once there was one way, now there are many,
Ways in and out, while all force the pace.
Roar of the blaze or spinning wheel jenny
Still let a few basic laws stay in place:
Haste makes for waste, where’er you may cast her,Will before knowledge so skill is at hand.
Do things yourself. And if you’ll be masterAsk yourself as you build your own land!
3. Not till you do good work can you order,
Wind be your wage if petty your part.
Few follow folk from over the border,
Work of our own hand is much better art.
Still it takes more to be worldwide a winner,
Yet we have done it before at a pinch.
Pride of the masses hardly grown thinner,
Fine achievement at inch after inch.

2. Our posture like an arrow,
Eager ardour to the marrow,
No more slander, only candour
Makes our country free and grander.
Hoist it without lag, our ﬂag,
The Cross is its symbol!
Stay unfurled in white and red!
Tough and nimble,
Denmark’s time’s ahead.
Johan Brydegaard
248 Christmas Carol (“Come, Christmas, come, exalted
guest”)
Not too slowly

1. Come, Christmas, come, exalted guest
Who knew your heavenly Father best,

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Light from star of Bethlehem
Is each child’s possession.

But let be swaddled in mother’s way
Awaiting childhood and mortal clay
In wretched manger so hard, oh shame! –And still you came.

4. From the heavens’ lofty clime
All the stars are shining.
Christmas night’s a tender time
Former life enshrining.
What was lost in time and mould
Of the world’s endeavour,
As a Christmas morning’s gold
We shall own forever.

2. Oh humbleness: The star was where
This child saw oxen that rested there,
And praise by heavenly hosts was kept
‘Twas heard where lamb with the shepherd slept,
The Magi knelt as they meekly saw
Your cradle’s straw.

Mogens Falck
3. At crib thus kneeling I rejoice:
Oh Saviour, this was your home of choice.
My heart’s own shed never splendour had,
But Holy Prince, like a child you’re clad,
Stay here below the old star again,
It’s Christmas then!

250 Homely Noel (“Homely Noel, splendently near!”)Not too slowly

1. Homely Noel, splendently near!
Do you descend to the horror down here?
Glaring you visit our home for to see
How we will go round the lighted tree.
Granting us stars, and serenity, too.
Homely Noel, indeed we love you!

Johannes Wiberg
249 Christmas Carol (“Heaven’s gloom a world apart”)
Not too slowly

2. Earthly Noel, golden your sheen
Help us join hands for the dance in between.
Do we look smilingly upwards, with glee,
Is it as if we a heaven see...
Freely we follow the steps of the child,Homely Noel! in starlight so mild.

1. Heaven’s gloom a world apart,Lit is Christmas candle;
Stars above are like my heart
Difﬁcult to handle.
Usual times turn sacred when
Daily din has dwindled,
Christmas tree has once again
Children’s eyes enkindled.

3. Tender Noel, friends we remain!
Do you bring sweets and some gifts once again?
Garnished the table quite daintily beams.
Indoors the ﬁr still grows, so it seems.
Underneath, do you shield treasures as well?
Do you hide gold, you gen’rous Noel?

2. Distant song from sounding brass
Makes us listen wholly,
Of a birth which came to pass
In a manger lowly.
All the bells on earth subdued
I can hear a-ringing
For I’m in a Christmas mood
Filled with children singing.

4. Festive Noel, so you assure
Magic to thousands of homes of the poor.
Bread you have brought for the mouth that
implores.
Lowered a star in this well of ﬂaws...
Built us in here a whole palace to pass,
Twinkling and pure, from quavering glass.

3. Once you were yourself a child,
Hear the joy so pleasant!
In their Christmas carols mild
Gleefully be present.
Is the world no splendid gem,
Dark with harsh oppression,

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5. Secret Noel, muted we hear
Tone of the candles in heart and in ear.

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The youthful hunter chases,
His gun right in his hands,
He hears the bear-paws breaking
Some sticks and twigs, then stands

Burning, they gleam on all branches but none,
Candlesticks going out, one by one.
Silent as tears that are falling because,
Slumbering kin, you don’t want to pause.

And drives the silver button
Into the barrel breech,
The heavy bullet grazes
The fur within its reach,

6. Homely Noel, this is our song,
Nearing your star we are walking along.
Ev’rywhere gleams for it shatters the gloam,
E’en for a homeless that will be home.
This is your wonder each soul will acclaim,
Homely Noel, may God bless your name.

But hits the wretched maiden.
She :/:staggers:/: almost dead,And over ﬂowers trickles:/:The heartblood, purple red.:/:Emil Bønnelycke
251 Ballad of the Bear (“The bear’s two cubs were murdered”)

The youthful hunter rushes
Across the rock somehow,
Gets scratched on hands and ﬁngers
From spiny hawthorn bough,The bear’s two cubs were murderedWith axes and with knives –In forest now she bellows,
Demanding life for lives.

Ignoring the avenger
Her :/:maiden lips to kiss:/:,He sees her soul extinguished
In azure eyes’ abyss.

In forest walks a maiden,
A hunter’s love, and she
Is picking summer ﬂowers
In shade of sapling tree.

The bear then turns, but slowly,
Its hairy frame aroundAnd plods along, proceeding
Across the hillside ground.

She walks, so mild and silent,
In frock of homespun thread
A-binding children’s chaplets:/:From ﬂowers blue and red.:/:Its bear-heart now reposes,
Relieved from woe and pain
In feelings of reprisal
Because the girl was slain.

The bear in forest bellows,
Demanding life for lives
Because her cubs were murderedWith axes and with knives.

Affrighted birds are screeching,
Now night is closing in,
And all the earthly colours
Go ashen, pale, and thin.

Its savage eyes are crying,
There’s blood around its teeth,With heavy trudge it reaches
The hillside from beneath,

The shaken crofter crosses
Himself on his cart nearby;
That wail in the forest
As if a soul did cry.

Assaulting then the maiden
With froth around its jaw,
A black, enormous she-bear
In evening sun, at war.

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Aage Berntsen

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I will ﬁnd solace when I’m dead:I’m staying here in Denmark.

252 “Let people, just a few, be right”
1. Let people, just a few, be right,
Is it just folly, quaere,
To have a passion for a site
Like eagles for their aerie?
I do confess if you’ll forgive:
I thank the Lord for where I live,
I’ll always hold to Denmark.

Peter Faber
253 Denmark (“We dote on our ﬂowering native land”)➤ 242
254 “So dear my native land, thy name so sweet”
1. So dear my native land, thy name so sweet,
Thy offspring’s longings have for thee arisen.
With thy allure unseen we always meet,
Each other country unlike thee a prison.

2. I do believe what has been said
From citizens in fashion,“What force is in a language spread,All of them may impassion?”
Still, only one is dear to me,
I learned it at my mother’s knee,
I learned it here in Denmark.

2. The spring in all its glory comes but there,
The graceful summer only there is beaming,
And beautiful is winter’s snowy wear
As on our neighbourhood of youth it’s gleaming.

3. I often heard of southern heatRemoving human pallor
While northern son was mild and neat,
Though quite devoid of valour.
Heroic deed is on the wane.
He fought, e’en though it brought him pain,
Now we have peace in Denmark.

3. Yea, beautiful the mountain capped with ice,
The valley, too, by waterfall besprinkled,
The golden desert was a paradise
As early glee in childlike features twinkled.
4. My native soil the heather’s browny land,
My childhood sun a smile at moorland gloaming,
My tender foot has trodden golden sand,My joy of youth among dark barrows roaming.

4. I know that pulchritude’s ideal
Is far from here located,
In laurel grove, and never she’ll
In beechwood be awaited;
Contrarily, the fair-haired maid
Returning glances unafraid,
Is only found in Denmark.

5. Fair is to me the empty, ﬂow’rless lea;
My browny moor an Eden altogether –My bones will rest out there in secrecy
At my ancestor’s graves o‘ergrown with heather.
Steen Steensen Blicher

5. A call is heard in distant land,With gold they are delighted.
Stay where you are, you Danish hand,
Do work and be requited.
The corn that’s hidden in our mould
Will sprout and then turn into gold,
Yea, there is gold in Denmark.

255 “Oh, how glad I am today!”➤ 190
256 “Silent as a stream’s meander”➤ 184
257 “Build on lowland, not above it”

6. My old and free and dearest land
I cannot leave behind me;
I’ll not let go your verdant strand
Wherever fate may ﬁnd me.
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1. Build on lowland, not above it,
Live in truth and not in pride;
Do not trim your sails and love it,
Be at odds with those who lied.

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261 “This we know that since the poison”

2. Humdrum folk are often nearest
To existence rude and plain,
Joy may likewise burn the clearest
From a damaged window pane.

1. This we know that since the poison
Of the snake delight bespattered,
We ourselves must share our lot with
Winter crops, though more had mattered,

3. Plainness makes you safe and shielded,
Makes the strife at home retire;
Simple hearth has always yielded
Public spirit’s purest ﬁre.

2. Reach not here, which passion calls for,
Summer comfort, fully growing,Must be pleased with just a greyish
Short-lived spring of never knowing;

4. Show them forth, your deed and action,
Mind them truly all year round,Great feats give no satisfaction
Weighed against the deed that’s sound!

3. Carry, e’en with furrowed forehead,No ripe crop or likewise burdened;
What they praise as fruits of ours
Are but shoots, abundant, verdant.

Zakarias Nielsen
258 “Mighty the realms that rend earth asunder”

4. Growing green – that’s what we’re able,
Putting forth till all is frozen,
Standing straight despite the weather,
Sure of summer – this we’ve chosen;

1. Mighty the realms that rend earth asunder,
Eagles would head up north just to plunder.
High, high we will raise our colours,
Onwards through time we will support our land.

5. Growing green – well, that’s the matter,
Wide awake and really living,
Living shortly, living longer,
Simply cheerful and forgiving.

2. Blunted our will, our valour turns faceless,
Bloodstream will ﬂow, then, sluggish from baseness,
Down, down they will crush our colours,
Trouble and thraldom they’ll present our land.

6. What this year is growing verdant,
Then the next one should be readyIf we just take root in proper
Ground of life, secure and steady.

3. But if we’ve steely arm and ambition,
Stiff’ning the spine an act of volition,
High, high we will raise our colours,
Onwards through time we will support our land.

7. So it bears and hides what’s fading
Faithfully to all creation,
Until winter’s lethal anthem
Ends in Easter jubilation.

4. Thus, should we die in battle, truehearted,
Springtime will ﬂourish o’er the departed,
High, high we will raise our colours,
Onwards through time we will support our land.

Jens Christian Hostrup

Ahrent Otterstrøm
259 “Look! The sun is red, mum”
➤ 183

262 “A fair and lovely land”(262: stanzas 1-3)
Warmly and cheerfully

260 “When babies whimper before the candle”

1. A fair and lovely landWith staunch and tow’ring beechwood
Beside the Baltic strand;
The rolling hill and dale enthrall,
Is known as good old Denmark,And this is Freya’s hall.

With an even stride➤ 187

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4. Look, so I have like a snail relation,
My house I carry on per’grination
And those who think that the wind is hard,
Should know how good it is for a bard
To creep in under the roof thereafter
Where she stands light ‘mongst the children’slaughter.
Well met ...

2. ‘Twas here in days of yore,
The armoured heroes gathered
To rest from mortal war;
Then onward marched to strike the foe,
They linger on in peace now,
The barrow mounds below.
3. This land is beauteous still,
By azure sea encircled,
So green the wood and hill;
And noble women, pretty maids
And fearless men inhabit
These isles and verdant glades.

5. No son of thought or of poetry
Such mighty arches or wells can see
Like from the heavenly love to where
It’s mirrored in the cradle whene’er.
No soul is shining, no heart allaying
Like one who’s rocking a child while praying.
Well met ...

4. Hail king and fatherland!
Hail every Danish burgher
Who works with eager hand!
So long the azure waters pureReﬂect the tow’ring beechwood
Old Denmark shall endure.

6. Who cannot love on a lesser scale,Can ﬁnd no wealth when the mem’ries pale;
Who cannot put up his own abode,
Whate’er he builds time will soon erode.
Defeating Moscow or Cartagena,
He dies, though, lonely at Saint Helena.
Well met …

Adam Oehlenschläger
263 “I drive along in a splendent spell”
1. I drive along in a splendent spell
In Sunday peace with a pealing bell.
Sun raises all forms of life with passion
From gnat to seed in an equal ration.
And people pass on their way to altar,
Through open doors I will hear the Psalter.
Well met, you greeting touched more than me
Though in the passing you didn’t see.

7. If once a footing you have erected,
Your neighbour, even, is oft protected;
Though built through children’s and women’s deed,This footing still makes your soul succeed
So that it’s whole in all ﬁght or danger
And thus encouraging friend and stranger.
Well met ...

2. My company is superb and splendid
If sometimes cunningly unattended;
But where you saw me in Sunday glee
The reason was we were more than me
And where you heard then my quiet singing
They sat together in tone, just swinging.
Well met ...

8. A single home may support a land
By well providing its saviour hand
And many thousands of homes come out
To save the land in a battling bout;
And what will bring it to peace condition
Is homes’ pulsations in busy mission.
Well met ...

3. One follows me with a noble soul,
For me she gave up her life in whole;
Yes she who laughed as my boat was heeling,
Did not turn pale during thunder’s pealing,
Yes she whose white arms did so receive meWith warmth of life and of trust, believe me.
Well met ...

9. Despite the grace of a foreign scentWith clean fresh air is your home content;
You’re seeing there just the child’s devotion
And sin is kissed off with wild emotion;
An open church is a place of breeding,
From there it came and to there it’s leading.
Well met ...

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10. Well met, young man, on your way to church,
We pray each one for our own, in search;
For prayers take us ahead a bit
Between the twain homes we won’t omit.
You enter, I have to drive round Norway
As hymns attend from the open doorway.
Well met, you greeting touched more than me
Though in the passing you didn’t see.

265 “You and I, everyone must qualify”
1. You and I,Everyone must qualify,
Only idler’s station
Has no obligation.
But the skilled among us know
Those who slack are bound to go
To pot, and unprotected.
For work code, it must be respected,
By bosses and those they’ve directed.

Bjørnstjerne Bjørnson
264 “An old smallholder at his ground”

2. Common lot
In the long run all have got.
But till that condition:
Equal rights’ omission.
What is right for those who soLive where gloomy shadows grow,
Whose need for bread’s neglected.
But work code, it must be respected,
The naked, and he who’s selected.

1. An old smallholder at his ground
From gable end is staring.
A poor and needy ﬁsh, he’s foundHow harsh the lot he’s bearing;
Then straightens up his crookèd frame
While shaking off his burden,
He listens, he’s awake to name
The singing lark his guerdon.
2. Beyond his ken for years its ringThis merry warble ﬂutter
As he in summer, autumn, spring
O’er soil was bent to scutter.
For ﬁrst time round he’s wide awake
Whose silence had been steady,His humming may that stillness breakAs skylark song is ready.

3. Day by day
Grows our cause, it’s here to stay.
In its strains enshrouded
Tens of millions crowded.
Troops advance, in faith and glow,
Menacing on Jericho
Whose donkeys bray, dejected.
But work code, it must be respected
In alleys and streets, it’s perfected.

3. He only saw the acres which
With oxen he would furrow,But not the thoughts that might enrich
His mind and make him thorough.
His hand is shading now his eye,
As o’er the world’s derision
He now perceives from thoughts on highA bright and cheerful vision.
4. That sight is wage for work, for scorn,
For evil he did suffer;
It rises at the peep of dawn
And makes him smile, now tougher;
It shows him justice and in sum
What trust in love enables,
That grows for many days to comeAround smallholder gables.

4. Throngs in time
Render power, courage, climb.
Men of aspiration
Are like hate-armed nation.
Are the times not yet our kind,
We shall harden labour mind
The best to be collected.
For work code, it must be respected,
In future by freedom protected.
L.C. Nielsen
266 “In shadows so bracing”
1. In shadows so bracing,
In darkness diffused by the roses
Where warbler is placing

Johan Skjoldborg

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2. Glimpse of sun and clouds in haste
By each other are replaced.
Rain and sun in endless change
Made our loam for croft and grange.
Bring about
Any sprout!
Forcefully your spring came out!
Let the talents shine, amaze
Like the summer lightning’s blaze.

The nest that its twitter discloses;
Where brooks, frolic-taken,
Now lull, now awaken
The darling of Muses, the sensitive bard,
By still running rapids, unmarred.
2. Where herds low, appealing,
T’wards sons of the forest that gambol,
And breathe as they’re feeling
The wealth they defend in a scramble;
Where, singing, the reaperWith heaps growing deeper
Can count up his riches and call from the slope
To she who has crownèd his hope;

3. Eventide is now in sight,
Stellar light and moonlit night
Shadows creeping everywhere
Blur your memories right there.
Dark will build
A fulﬁlled
Bridge between the ﬁghts that thrilled,
Lead along its old abyss
Denmark to a sunrise kiss.

3. Where billows in dances
May plash at this wight on a wanderWho, staring, now glances,
On Sweden’s gray rises to ponder,And, musing, now hurries
To sails and to ﬂurriesAnd, searching the foreigner’s ﬂag underway,
Forgets the decline of the day.
4. Where grief and afﬂiction
Found gladly your stamp, my Creator:
The noblest conviction
To make one’s compassion much greater;
Where kindness enhances
All virtuous chances;
Right there I could sing and the woods at the sea
Resounded our Maker’s decree.

4. From that weather, ev’ry kind,
Denmark gained its state of mind,
Fruitful, ﬁckle, stiff and swift,With emotions all adrift,
Soon at rest,
Soon possessed,
Soon in tears, soon cheeriest.
Showers, sunshine from above
Made your children fall in love.
Ove Rode269 “It’s spreading everywhere with us”
With a cheerful mind

Johannes Ewald
268 Danish Weather (“Whistling wind and washing wave”)

1. It’s spreading everywhere with us,
That obstinate dissension,
And he who leaves the ﬁght is, thus,
In view despite intention;
But we would like to take our turn
The moment we might enter,
Instead of being thralls we’d earn
Our places near the centre.

Strongly and cheerfully

1. Whistling wind and washing wave,
That’s how Danish days behave.
Breezes born way out at sea
Travel salt and fresh and free.
Daily guest,
Wind’s unrest!
To each rotten stump a test.
Sweep and knock it down, take holdOf what’s only ﬁt for mould.

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CNU_III_7_indmad.indb 273

2. We do not try, for dogs that bay,
At once to ﬁnd reaction,
But ﬁrst we ﬁnd what force today
Is best for satisfaction;

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Glad as a bird all the strings I would sweep,
Jump around, and be humming my Psalter!

It’s true if we are helped to seeWith these own eyes of ours
And grasp what time demands and be
Alert to untrue powers.

2. Out of the blue came my father’s request:
Hurry home, dress yourself, feast is brewing!
Wanted, the seer says, is one more guest,
This is you, don’t be late in your doing!

3. Our wisdom is of poor renown,
But looking up in wonder;
Though we will not tear heaven down,
Just build secure thereunder;
We’re not, for all our daily woe,
Deprived of hope’s conviction,
We’ll never be enticed to know
Of life as an afﬂiction.

3. Red-cheeked I waxed even more than before,
Like a bird, like a wind were my choices,
Paled only ﬂeetingly outside the door
As I heard all the vigorous voices.
4. Goblet of gold with the glistering wine
By the seer in there I was handed,
Then was anointed with oil truly ﬁne,
As if dew in my valley had landed.

4. We trust that He who offered that,Will kindly meet desire,With meagre lot, and claim thereat,
The more it may acquire;
We trust if heavy weather raves,
And so we’ll not be shaken,
No, every honest ﬁght it saves
A life from being taken.

5. Plenty around looked askance at my luck,
No one knew, though, of my satisfaction;
Hidden inside came a fountain of pluck
Like a springing oasis’ attraction.

5. And this belief we’ll not let go
As off to ﬁght we’re setting,With it we blaze our trail and so,
Each one his skill is whetting,
We bring it with us, then, of course,
As traineeship has fruited,
To join in Denmark’s ﬁghting force
Whenever we’re recruited.

6. Regal became thus my mind and my mood,
For my ﬂock I was dauntless and daring,
Lions and bears I deﬁed, and pursued
To defy Court deceit which was ﬂaring.
7. Brag did Goliath with helmet and shield,
I was grasshopper-like to the giant,Hit by my sling he was felled in the ﬁeld,
Then I cut off his head, quite deﬁant.

6. This force does not want blood on earth
When lures of war are ringing,But newborn peace at freedom’s birth
That equal rights are bringing,
And it will march along, withal,
Not leave the ﬁght at leisure
Until the smallest of the small
Can share in life’s own pleasure.

8. Wildly I covered the desert sometime,
Treading high and low gruelling paces,
Till I rejoiced at the crown in my prime,
But my heart underneath hurt in places.
9. King I became, though, of greatest renown,
While Jerusalem saw my endeavour;
And as the thrones of the world tumble down,
David’s harp is remembered forever!

Jens Christian Hostrup
270 “Out in the ﬁelds I was watching the sheep”

N.F.S. Grundtvig

Light and easy

1. Out in the ﬁelds I was watching the sheep,
Under palms I would harp without falter,

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272 River of Gold (“The river that runs to perpetual sea”)

271 “Apostles convened in Jerusalem”

Thoughtfully

1. Apostles convened in Jerusalem
Awaiting the Lord’s revealing,
Their ears started ringing, all of them,Like thousands of small bells pealing.

1. The river that runs to perpetual sea
With wonderful force, we’re told;
All mountain ore in its wave debris
Its stream has turned into gold.

2. Thus touched, everybody was wonder-struck,
They’d never had such adventures;
In Heaven they spoke of mutual luck,
All names marked in prime indentures.

2. This gold stream runs to perpetual sea
From nature’s heavenly shore;
It ﬂows with a force the Godhead might free
Deep down, and forever more.

3. They spoke of the ones who’d now proclaim
The Word of the life with vigour,
Of joy at His table, in His name,Appearing on Earth, much bigger.

3. It permeates nature of ev’ry kind
Where Godhead life has its lair:
It turns and changes in evr’y man’s mind
Black earth into heaven fair.

4. On Zion was heard then a sough that rode
On high and that never faded:With forces from Heaven the low abodeOn Whitsunday was pervaded.

4. It rushes through the breast of a bard
With life, eternal and strong:
Each sorrow it turns into dismal guard,
Each sigh it melts into song.

5. Then tongues like ﬁre aglow were seen,
Past lips of God’s friends intruding;In all of the tongues God’s message was clean,
Embracing and not excluding.

5. So even the stone under mountain weight
Dissolves into golden grains;
Transﬁgured, the kin of stone in its spate
The ocean of life attains.

6. On Earth then, this light from our Lord was lit
As far as the sunshine reaches,
And each living reader God’s Holy Writ
In mother tongue always preaches.
7. And if until now on the Word of worth
Like children we’ve only stammered,
From heavenly ﬁre which came to Earth
Of one spark we’re still enamoured.

6. Gold river, run to perpetual sea
With wonderful force as told!
All being’s ore in your wave debris
Recast into puriﬁed gold!
B.S. Ingemann273 “On straw and on feather the brooding call”
1. On straw and on feather
The brooding call,
At wheaten root nether
The skylarks small.

8. That spark is smould’ring each hour of God
And bursts into ﬂame when healing,
Reminds us with pleasure it’s far form odd
That Heaven’s small bells are pealing.

2. Now green’ry is hiding
The trusty bird;
Her eyelid’s subsiding,
No sound is heard.

N.F.S. Grundtvig

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You have urged that we endeavour
To be ﬁrm and strong and clever,
Understanding, even mute,Jutland, Jutland, Mother Jute!

3. Like seed and, moreover,Oh, bird alive,
On wheat and on clover
Small hearts will thrive.

Vilhelm From Bartrumsen
4. Your own one must hurry
From day to day,
Small beats in a scurry,
In ﬁrm display.

275 “Thoughts must be lit, then exceeded”
1. Thoughts must be lit, then exceeded ...
Ancestor visions come true,– Pyramid, bridge, and what’s needed –Shimmer as yet in the blue.
Hand, lips have crumbled forever,Dreams have been covered with clay.
But for eternal endeavour
Speaks the victorious way.

5. Your deep eyes will glisten,Your heart will beat,Unselﬁsh you’ll listen
Midst sheep and wheat.
6. Up high it’s recurring,Your bliss so strong,
From wings always whirring – – –Your lover’s song.

2. Space we call empty, contriving:
Bottomless vessel as gift!
Rich is the day that’s arriving,
Facing the day gone adrift.
Thinkers are graced by the stigma,
Passed from the stars and their bowls:
Space as enigma’s enigma,
Darkness round luminous goals.

Ludvig Holstein
274 We of Jutland (“Jutes we’re born and jutes we’re staying”)
March tempo

1. Jutes we’re born and jutes we’re staying,
Loving Jutland’s name.
Nothing else, so goes the saying,Thank you all the same!
And we carry forth the stable,
Downright healthy, Jutish label
Ever since the childhood squall
Till the milestone, last of all!
2. We are Jutes! We’re speaking clearly,
So it can be heard.
What we do is done sincerely,
Trust us, take our word!
Sober, forward ways we’ve taken;
If we stand we can’t be shaken.
Fighting for his right, a Jute
Dies before he’ll follow suit!

3. Into this gloom we shall wander,
Steered by our passionate call.
Let us bring light as we ponder
Even if something should fall.
Painting the woods is a splendour
Which evanescence receives.
But for the shoots that surrender,Life murmurs on in the leaves!
Hans Hartvig Seedorff Pedersen
276 Homecoming (“I wander over my ancestors’ earth”)
1. I wander over my ancestors’ earth
By precious pathways, known to me since birth,
The woods, the acres, a decaying dwelling,
Where’er I look, beloved things, compelling.
The old grey smithy’s lost its roof since then,Deep in the hearth a cold, bright day again!
The nearby fount will hum along, still streaming,
As when it witnessed children’s games anddreaming.

3. Mother Jutland, one is heir to
Sun and rain combined:
Smiles and riches make us dare toThank your forceful mind.

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The injured’s lamentation,
The victim’s ﬁnal hope; –2. Where haunches smoked and crackling pork
was browned
Below the roof where darkness was profound,
Are now but groundsill stones in black remaining,
The memories of toil right here are waning.
The tow’ring swing that made the child ﬂy highAll shiv’ring from alarm and joy thereby
Through ice of shadows and through sun aﬁre,
Lies broken now ‘tween beeches in the mire.

5. A rainbow bridge of pray’r
Through heavy earthly weather
In faith of Christ up there:
That all distress that e’er occurred
Be slain by love eternal,
Thus spake His very word.
Bjørnstjerne Bjørnson

3. But from the valley on to slopes uphill
The spruce ascends like winter’s spreading chill;
I saw it planted, low and light and golden,
Come gale, the land is to its strength beholden.
My childhood home, in memory of you
No feebleness and no lament will brew,
But I shall learn from how the spruce tree said it:That strength of mind will do your birthplace credit.

278 “Country to come!”
Cheerfully

1. Country to come!
Thither they’re steering in thousands, each need,
Each of the sighs, that did never succeed,
Making a landscape of clouds all aglow
Over our woe, –Blissful the dream of conditions that must
Grow from our trust
In country to come.

Frederik Poulsen
277 “A silent ﬁle will reach”
1. A silent ﬁle will reachThroughout the din of battle
With pray’r in ev’ry speech;
Will, cross on shoulder, bend in gloam
Towards the fallen’s rattle
With pray’r from peace and home.

2. Country to come!
All of the labour fulﬁlling our aims
Grows in descendants forgetting our names,
Gathers for others, rejuvenates thenDesire again.
This has the power to carry it forth,Unfailingly forth,
In country to come.

2. It is not only found
Where battle wounds are bleeding,
But all the world around.
It’s universal love’s renown
From noble, gen’rous people
That silently kneel down.

3. Country to come!
Tears being shed at those things that are bad,
Blood-sweat for rights in a ﬁght you have had,
Bless and anoint the victorious will.
Breaking us, still,
Evil it stops, and goodness it sows,
Everyone knows,
In country to come.

3. It’s labour’s strong disgust
For warfare’s cruel slaying
That prays for peace and trust;
It’s every sufferer on earth
Aware of need and anguishWho mourns his brother’s birth.

4. Country to comeDawns with its lines and in colours and lays,
Twinkles like sunlight on those happy days,
Glimpsed in the eyes of the children, a way
Down as you pray.
Are we successful, and triumph is sound,

4. It’s every groan of pain
From wounded and from ailing,It’s Christian pray’r again;
It’s the abhorred ones’ muted grope,

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Mind is bending at last to bad,
Not knowing where to regain its boldness;
Lesser the light that the days deliver,
Frost and despair make the heartstrings shiver.
When comes Noel?

We shall be foundIn country to come.
5. Country to come
Steadily rises; in splendour of morn
Hearts are aglow and our senses reborn.
Turn then our homeland t’ward sunrise out there,
Our calling aware, –Are we like Moses when, gasping for breath
At moment of death
In country to come!

2. Midsummer Day when all was light,
Bright stood the year ‘tween the summer ﬂowers,
Sun has now lost all its glitt’ring might,
Wilting on snow-sheet o’er lengthy hours,
Freezing while feeling its powers ended,
This is the way how Noel ascended.
When comes Noel?

Bjørnstjerne Bjørnson
279 “Morning cock again did crow”

3. Earth fought like that through winter’s cold,
Deeply in need for a sunshine weather,Fought with a winter, millennium old,
Winning come springtime and altogether.
But as it felt all its powers ending,
Just then the Lord sent his sun ascending.
Then came Noel.

1. Morning cock again did crow,
Flapped its dewy pinion,
Golden sun with happy glow
Heralds light’s dominion
As we thank him secretly,
Heavenly he’s dressing,Blush of dawn his scenery,
School of life his blessing.
2. He created day for strife
Dusk for rest from worry,No one measured thread of life
Therefore let us hurry,
Doing good the whole long day
Testing power and vigour,
Knowing well that, come what may,Good conditions ﬁgure.

4. Deep in the dark and the cold as well,
While this our sun declines and dwindles,
God is ascending as Noel,
Midsummer light in Heaven kindles,
Just as the earth is too distressing,Comes a salvation’s wealth of blessing,
Then comes Noel.
Jonas Lie
281 “In shadows so bracing”
Easy and romantic

3. Spoken word and printed tome
Form a vital story,
Render youth its proper home,
Living for God’s glory;
When our manhood strong and sage
Answers to its label,
Taking stock of schoolyears’ wage,
Shows the youth is able.

➤ 266
282 “Dannebrog, ﬂag in a ﬂutter”
Proudly

1. Dannebrog, ﬂag in a ﬂutter,
We will utter
How you bring to mind the battle
With its rattle
As above the Dane you ﬂew,
Then so new.

N.F.S. Grundtvig
280 “Nigh to Noel, how very sad”
Seriously

2. Wake again in Denmark’s keeping
What’s been sleeping,
Bellow to each ear this message

1. Nigh to Noel, how very sad,
Shorter the days in snow and coldness,

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It listens in to my heartbeat there,
Then asks me:
Will it come, sunlight glare,
When I’ll soar with a song into springtime?

As a presage:
Look how far behind the night,
Day’s in sight.
3. Now arise, it’s time for spirit,
Who can hear it
What the day of morrow causes.
Without pauses,
Listen to our merry calls,
Danish halls.

2. Autumn’s near, near,
Is solace right here
If wing-shot poor bird’s in a cage?
Ah, yearn not away from my shelt’ring heart,
My wee one,
The two of us never shall part.

Steen Steensen Blicher

3. Yet, when no longer my heart will beat,
The wound of your wing is healed so neat,
Soar with a trill into sunlight.

283 “Now, did the rake get its latter prong”
1. Now, did the rake get its latter prong,
All of my boys, are you ready?
Dew has been falling the whole night long,
Sharp is the scythe, now be steady.
Arms are refreshed from a wholesome doze.
Jubilant greeting as sun arose;
Lilacs hide an adorning
Cuckoo that calls: good morning.

Alma Rogberg
285 “Denmark, now slumbers the Northern night”
With a mild warmth

1. Denmark, now slumbers the Northern night
Close by your bed while you’re sleeping.
Cuckoo calling from out of sight,
North Sea, Kattegat, moonlit white,
Sing as the dew is coming,
Softly like cradle-humming.

2. Mum has blown on a hearth that glows,
Busy with breakfast and table,
Look how steam from her porridge ﬂows
Softly across to the stable.
Bread is buttered, enough and good,Beer is bottled, a box of wood
Hiding a jar of some liquor
Out of respect for the vicar.

2. Denmark, you waken to meres of blue,
Sated like orbs of mothers.
What this night was embraced by you
Basks in the golden sunlight, too,
All as profuse presages
Out of our bygone ages.

3. On the wagon now each of you,Colts on cobbles are scraping.
And wide open to eastern hue
Gates in wonder are gaping.
Swallows turn at the wagon team,Day’s awaiting each joyful dream,
Faintly a surge of feeling
Echoes the church bell pealing.

3. Lark from its egg-shell in spring appears,
Dwindling in rays from heaven.
Tones that descend, as from shining spheres,
Same old song for a thousand years.
Thrill out of depths rejoices,
Ringing from ﬂedgling voices.

Jeppe Aakjær
4. Fragrance of elder in parlour room
Drifting from Danish gardens.
Corn is rip’ning in summer’s womb,
Cockcrow greetings for minds in bloom
Rise behind house and hedges,
Whetted like cutting edges.

284 “Autumn’s near”
1. Autumn’s near, near.
My breast holds in here
A bird that is sitting wing-shot.

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Somewhere should be collected
What time consumed – and when;
Not only glints we’re gazing
From ﬂashes of the mind,
But ev’ry earthly blazing
Of ev’ry earthly kind.

5. Horses and cattle and sheep on grass
Over abundant pasture,
Bursting barns with their harvest mass,
Cliff and headland that sails do pass,
Shower a sudden drummer,
Such is the Danish summer.

5. United there be taken
What piecewise fell from view;
There all the old will waken,
Restored to youth anew:
The soul you had elected
The goal at which you aimed,
The dream you here perfected,
Will yonder be acclaimed.

6. Girls with their laughter and golden hair,
Games that are never ending,Eyes deep and blue as lakes somewhere
Promise of Denmark ever there,
Sun over green expanses,
Joy in the starlight dances.
Thøger Larsen
286 Retrospect (“What happed to blooms that relished”)

6. Still, here is consolation!
Our faith we’ll never lack:What’s lost at this location,
We yonder will get back.
For ruin was createdNot e’en the smallest seed;
While shell was desolated:
The core of life shall breed.

Seriously

1. What happed to blooms that relishedYour senses with their scent?
To sunshine that embellishedThe summer’s balmy tent?
What happed to bursting green’ry,
Competing all along
Untainted springtime scen’ry
And birds’ refreshing song?
2. And creature’s life, if hidden
As by a gloomy cloud,Is it for them forbidden
To live again – and proud?
The dog that died from sorrow
Upon his master’s grave,
Shall it again the morrow
As trustworthy behave?

Frederik Paludan-Müller
287 Iceland (“In former ages, – ’Fore hundred thousand
years of time’s rampages”)
In former ages,‘Fore hundred thousand years of time’s rampages
When all lay hid in darkness, without motion,
Then Iceland slowly rose up from the ocean.
Up high ‘twas raised upon volcano’s shoulder;In rumbling thunder coming from the smoulder
The cracking earth gave its infernal din.
In steam the ocean, lava ﬂows a-wheezing,
While all the world’s wild winds were freezing.
The earth had borne a son from deep within.

3. Oh, look at bygone seasons
And see what you have been!
From what imperfect reasons
Came any fruit you’ve seen?
Where is desire’s candle,
The garland of your care?
What heart of yours did handle
A sparkling eye back there?

From pole to pole the world entire quaked,
Against a newborn sun the axis ached,
While snow was drifting, hot springs’ gushingthrong,And booming falls were Iceland’s earliest song.

4. Old times should be inspected
And pondered on again,

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Then light advanced in all its brilliant might.
Behold!
Dispersed the dark, the snow lay still and cold,
And there was Iceland, wonderful and white,
Its glaciers gave the clouds a silver lining,
And northern lights among the stars were shining.

290 “Lay down, sweet ﬂower, your head”
quietly, sincerely➤ 23
291 “A fair and lovely land”
Broadly, but not too slowly➤ 262 (stanzas 1-3)
Iceland, you proud and stormy, wind-swept land,
You Saga Isle with stories to remember,
Still, waves they break against your rocky strand,
Still falls they roar from where the mountains
stand,
Reﬂecting later, calmly, skies at hand,As sunset makes the glaciers look like ember.
Forever, Iceland, you will always be,
With snow-white crown, a king of Northern Sea,Your noble Northern place upheld, surviving,‘Till Twilight of the Gods one day’s arriving.

292 “The ﬁddler is playing his ﬁddle”
Very lively➤ 186

TWO SONGS FROM ‘CANTATA FOR THE OPENING
CEREMONY OF THE NATIONAL EXHIBITION IN
A ARHUS 1909’
293 “Foaming high, the waters rushed heavily ashore”
Not too slowly

Otto Lagoni
1. Foaming high, the waters rushed heavily ashore.
Hey, this is fun! What a ballroom right there!
Spray and gurgling white-tops with a guttural roar
Floated in rainbow-coloured air.

TWO SONGS FROM ADAM OEHLENSCHLÄGER’S‘MIDSUMMER EVE PLAY’
288 Maids in the Wood (“In shadows we wander”)➤ 89 (stanzas 1, 4)

2. There, before the maelstrom, silent, dumb stood I,
Eyes ﬂashed around, thoughts were running astray.
Trough and crest of waves, and sea foam ﬂying
up high,
Moments that came and passed away.

289 “As moonlight entrances”
Tweet-tweet-tweet-cha! Tweet-tweet-tweet-cha!
Tweet-tweet-tweet-cha! Tweet-tweet-tweet-cha!
As moonlight entrances,
We bird, oh so small,
Exchanging quick glances
With each other, each call,
Glory be we’re alone here
On twigs of our own, dear.
If we only had
Peace to hop and eat,
Oh, we’d be so glad!
So glad! So glad!
Tweet-tweet-tweet-cha! Tweet-tweet-tweet-cha!
Tweet-tweet-tweet-cha! Tweet-tweet-tweet-cha!
Tweet-tweet-tweet-cha! Tweet-tweet-tweet-cha!
Tweet-tweet-tweet-cha! Tweet-tweet-tweet, so glad!

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Olaf Hansen
294 “Denmark, ye corn-golden daughter”
1. Denmark, ye corn-golden daughter
Of the male and rich mould and the open
female sea,
Born below the heavens so soaring
That your eyes became blue from exploring:
We hail you from the sea, from the mould, from
where we came,
We bring you our success, and our action, andour aim,
Mother, in honour of your name!
2. Denmark, ye song-smiling sister
Of the sun-shining South, of the cold andwintry North,281

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But from books’ unfeeling pages
Flows what secret was when written:
May your life be smitten!

Growing up where icebergs have vanishedAs they met with the spring and were banished:
We bring you from the North, from the South,and from our lives
The best of that to which almost everybody strives,
Mother, our tribute now arrives!

4. Some will say it may be urgent
If you know of Cain,And of all the world’s divergent
Quantities of rain.
Better were if you detected
What it was that Cain rejected;
All the life a drop is bearing
When a shower’s faring.

3. Denmark, ye most fecund daughter
Of the wind that embraced and the ﬂower thatgave in,
Ripened during tempests so forcefulThat you see even pain can be remorseful.
From fragrant, vernal ﬂowers we’ll bind for you
to wearWith ears from golden acres, with leafage brightand fair,Mother, a wreath around your hair!

5. Not just comprehension’s treasure,
Wisdom’s plenteous gold,
Not just being apt to measure
Sun and man and mould,
Learn how truth must be respected,
Learn how beauty is reﬂected,
Then for life the school has thriven
And its best has given!

L.C. Nielsen

TWO SCHOOLSONGS

Viggo Stuckenberg
295 “Flower pollen from profusion”
296 “It’s over for a short respite”

not too slowly

1. Flower pollen from profusion
Gambols high and low;
Every child‘s mind in seclusion
Wafts away, we know.
Pollen knows not of direction,
Finding mould or sheer abjection,
Guard your skill if you possess it,
Cultivate, don’t mess it!

1. It’s over for a short respiteYour drudgery and letters,
Now you may go all free and wight.
And cast away your fetters!
Now you may holler when you please
And, if you can or want to,
Do somersaults above the trees,– There’s no-one here to daunt you!

2. Learning many things comes prior
To your getting wise.
Least: to grasp a book, desire
Doing exercise;Greater: labour to admire,
Good or bad luck to acquire
To whate’er you may aspire,
Greatest: be entire!

2. Ah, short respite! No, barely so
Is winter time createdAs but one day in woods to go
Windblown and sunshine-sated.
So let the school year thus elapse,
Though half of it be wasted,
Or else you never had, perhaps,
The fruit of summer tasted!

3. Don’t believe that school is only
Lessons round about,
Where you pale while working lonely
When the sun is out.
Lessons were our task for ages,

3. Cross over mead to stream or dike
As sunset softly follows,
Hear buzz of gnat, hear ﬂip of pike,
Look in the sky for swallows!
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Birds have a totally different style;
Somewhile we smile,
Pursuing each other, we’ll kiss and resile:
No guile.

Is set a priceless treasure,Calm, glee, and spirits – let them lead
So long may be your pleasure!
4. Come back then when again you must
Exchange the forest twilightWith red-brick school and so adjust
To where there’s work in highlight,
Melt into that and grasp it right,
That echo, an expression
Of what you seized one summer night
While streams did purl and freshen!

Dear Sir! Like us you must let it show;
Success will grow!
I see the fair maiden waiting below:
Now go!
Emil Aarestrup
302 Serenade (“Gladly we listen when music may carry”)

Viggo Stuckenberg
1. Gladly we listen when music may carry
Messages up from on high for our souls,
Gladly we’re lifted in order to tarry
Far above worldly life’s nebulous roles,
Gladly we follow the rhythm in dancing,
Closely embrace as feelings rejoice,
But we prefer making tones, all entrancing,Singing them out at the top of our voice.

SEPAR ATE SONGS
300 Danish Patriotic Song (“Sing, Danish man! With all
your might”)➤ 167
301 Siskin Song (“You are, in truth, a curious pet”)

2. Singing’s elation, and singing is pleasure,
Singing refreshes like winds of a kind,Singing makes labour feel almost like leisure,
Singing can comfort the worrisome mind,
Mostly when voices in rhythm are ﬁghting
And with each other in joy succeed,
With all these harmonies let us be slighting
That in the world there is discord and need.

You are, in truth, a curious pet,
So ﬁne and set,
You’re reading whichever book you get,And yet –And yet you are neither daring nor sly;
What happens? And Why?
To look at a rosebud, and then to sigh –Oh my!

3. Thanks to the lady who’s kindly inviting
Young people’s choir, for all to be heard,
She who can grasp the magic uniting
Music around the poetical word.
Thank you for welcoming smiles, with theirtreasure,
Hearken, all ears, alert to the bones,
Thank you for hours so rich in their pleasure,
Jubilant evenings with beautiful tones.

For that you have ﬁlled up your brain to the brim.
Oh yes! What whim
Can make a girl fancy a fellow so prim
As him?
To zither, to work on a verse at night –Come, come! All right! –Not ample! But we comprehend despite
We’re light.

Hother Ploug
303 “Come, God’s angel, silent Death”

Becoming it is, a man who is shy;
But frightened you ﬂy,
The damsel’s alone in the woods by and by:
Oh ﬁe!

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quietly, sincerely

1. Come, God’s angel, silent Death,
Lay me, mother’s knee my pillow

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When in peace I’ve ceased my breath,
Under moss and weeping willow.

311 Zealand Singers (“On Zealand’s fair and lovely summer isle”)
Wamly moving

2. I am sick of daylight blue,
Sick of night-time’s starry yonder –Crown of thorns I’m wearing, too,
Can no longer watch and wander –With a small-size choir the notes in brackets may be left out

1. On Zealand’s fair and lovely summer isle
Where stream winds merrily, its vale traversing,
Where beech is mirrored in a lake awhile
And nightingales are mournfully rehearsing,With olden mem’ries deep in mould, we would
Know where our home, our happy cradle stood.

3. I may ponder more and more
Over riddles of existence
Till I’m deaf and dizzy or
Lead myself as at a distance.

2. We learned it from the skylark‘s happy song
To sing with joy, with pleasure of our yearning,
And when our day at times was grey and long,
Or path of life ﬁlled up with toil and spurning,
Then came the song as comfort in distress
And gave our lips a smile in its caress.

4. It was young and ﬁrm, my heart,
In its pain a-pounding,With my bliss it fell apart;
Coldness now abounding.
Emil Aarestrup

3. We love the song as it were precious gold
And will with all our might and force defend it,
It raises minds above dismay of old,
And under gleaming star of hope we rend it.
The song will not be dying for a while,
But sounding fresh and free on Zealand’s isle.

304 “Yea, take us, our mother”➤ 28
305 Child Welfare Day Song (“We boys and girls wewaken”)➤ 230

Karl Elnegaard
306 “There’s a ﬂeet of ﬂoating islands”
312 “Gone are the days, they’re past and olden”

Firm and digniﬁed➤ 124 (stanzas 1-2, 4-5)

Digniﬁed, though not too slowly➤ 116
307 “A fair and lovely land”
313 Springtime (“Springtime, springtime breaking
through”)

warmly and cheerfully➤ 262 (stanzas 1-3)

Not slowly, yet hymnlike

308 “A fair and lovely land”
1. Springtime, springtime breaking through,Joyful in its coming,
Swallow cheeps announce anew,
Cold, no longer numbing.
Field and bight and wood arose
Sweetly from their winter’s doze,
Newborn won all trials.
Vigour rouses mind and skin,
Every pore is sucking in
Spring in brimful vials.

Warmly and cheerfully➤ 262 (stanzas 1-3)
309 Homesickness (“Odd and unknown evening breezes!”)
Not too slowly➤ 90 (stanzas 1, 6-7, 9)
310 “I take with a smile my burden”
With broad happiness, as if striding➤ 97

2. Lea by lea hold ﬂower balls,
While each greenwood shelter

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This forceful pyre will order
One’s life, its shame and sin,
And space will with no border
Forever slough the skin.

Does resound with warbling calls
In a golden welter.
Twinkling waves afar repeat,
Air is blue, bygone is sleet,
Tears of dew are smiling;
Clouds evaporate in light,
Sun is shining; town and bightSpringtime warm are whiling.
3. Land and sea will shout with glee,
Thanks for God’s affection.
Splendour here, to His will be
But a pale reﬂection;
Touched by Him is everything,
Up and down and round He’ll bring
Tint and tone that splinter;He himself is less like thoseThan a spring of beams and glows
Looks like glooming winter.

4. Thanks for the stunning far sight
Above our earth unfurled,
The gleams of golden starlight,
This ﬂow’ring of the world!
Now rest in peace, departed,
Behind the phantom’s cope,
Await the dawn free-hearted
Inside your urn of hope!
Sophus Michaëlis
315 “Bid me to live, and I will live”
1. Bid me to live, and I will live
Thy Protestant to be;
Or bid me love, and I will give
A loving heart to thee.

Marinus Børup
314 “From ﬂame your life was given”

2. A heart as soft, a heart as kind,A heart as sound and free,
As in the whole world thou canst ﬁnd,That heart Ile give to thee.

Objectively
The second stanza to be sung piano all the way through; b.17:
the last stanza allargando.

1. From ﬂame your life was given,
Likewise your christ’ning passed.
From worldly turmoil driven,
On pyre you will be cast.
Your ﬁnal run unaided,
You reached the last ordeal
When melted down and faded
You’ll stay as proof as steel.

3. Bid that heart stay, and it will stay,
To honour thy decree;
Or bid it languish quite away,
And’t shall doe so for thee.
4. Bid me to weep, and I will weep,
While I have eyes to see;And having none, yet I will keep
A heart to weep for thee.

2. From crucible they’re scraping
Your body’s last remains.
A home then in the shaping
Of what your urn contains.
Therein you’ll be admitted
In Death beneath the cope
Awaiting dawn, acquitted
At last in urn of hope.

5. Bid me despair, and Ile despair,
Under that cypresse tree;
Or bid me die, and I will dare
E’en death, to die for thee.
6. Thou art my life, my love, my heart,
The very eyes of me;
And hast command of every part,To live and die for thee.

3. From spirit was createdYour clay, it’s now returned,
From light it was elated
Like something swiftly burned.

Carl Nielsen Udgaven CN 00051

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Robert Herrick (Works ofRobert Herrick, ed. E. Walford,
London 1859, pp. 150-151)

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316 I Love My Jean (“Of a’ the airts the wind can blaw”)

319 “Come, glistering sun!”
1. Come, glistering sun! Come, glistering sun!
At pole of the heavens so mildly you’ve spun!
Let sunbeams be cast on our borough today,
Each burgher will then be delighted and gay
As meets him the school in a beautiful way,
In splendour of May.

1. Of a’ the airts the wind can blaw,
I dearly like the west,
For there the bonnie lassie lives,
The lassie I loe best:
There wild woods grow, and rivers row,
And mony a hill between;
But day and night my fancy’s ﬂight
Is ever wi’ my Jean.
2. I see her in the dewy ﬂowers,
I see her sweet and fair:I hear her in the tunefu’ birds,
I hear her charm the air:
There’s not a bonnie ﬂower that springs
By fountain, shaw, or green;
There’s not a bonnie bird that sings,
But minds me o’ my Jean.
3. Oh blaw ye westlin winds, blaw saft
Amang the leafy trees;
Wi’ balmy gale, frae hill and dale,
Bring hame the laden bees;
And bring the lassie back to me
That’s aye sae neat and clean;Ae smile o’ her wad banish care,
Sae charming is my Jean.

2. He praises the Lord, he praises the Lord
That winter has ended, so dull and abhorred.
He listens to tones inconceivably sweet,
A proof of how blissful the summertime treat,
While wishing prosperity always thereby
From over the sky.
Albert Thura
320 Danish Patriotic Song (“Sing, Danish man! With all
your might”)➤ 167
321 Evening (“The woods are dimly listening”)
dreamingly

1. The woods are dimly listening,
The golden stars are glistening
In heaven mild and pure;As nature is exhaling,
At eventide goes sailing
A misty whiteness o’er the moor.

4. What sighs and vows amang the knowes
Hae passed atween us twa!
How fond to meet, how wae to part,That night she gaed awa!
The powers aboon can only ken,
To whom the heart is seen,That nane can be sae dear to me
As my sweet lovely Jean.
Robert Burns/John Hamilton
The Life and Works of Robert Burns, ed.
Robert Chambers, Edinburgh 1851, vol. 2,
pp. 268-269 (stanzas 3-4 by John Hamilton)

2. How calm the Earth reposes
In veils of night, and dozes
From summer warmth so deep;
Like such a shrine you see it
While mis’ry is – so be it –Forgotten in the arms of sleep.
Carsten Hauch
322 To the Schnapps in ‘Bel Canto’ (“Although I’m moreconvinced than not”)
with subtle roguishness

317 “You suffer throughout an age of pain”➤9*Here two-thirds of the choir should articulate an unpitchedbut strong “Ah” while the rest sing as indicated, in such a way,
however, that the low fermata-chord gradually becomes unpitched.

318 To Asali (“I dreamed up to now as good as each night”)➤3

1. Although I’m more convinced than not
That you’re as false as you are hot,Carl Nielsen Udgaven CN 00051

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If we’ll not fail thee
When in a toss:
Certain the morals,
Lasting the laurels,
Freed from distress and from loss.

Tomorrow you’ll be teasing me.
My dear, yet you are pleasing me,
You’re through and through appeasing me,
I’m seizing ye,(drinking) Ah – !
You’re easing me.

2. Enemies tremble,
More than at sword,
When we assemble
With you, unawed;
Where we upheave you
Triumph won’t leave you,
Blessed is the host of our Lord.

Aage Berntsen
323 Song of the Young (“The stress of years could not jadeour mind”)
March tempo➤ 155 (stanzas 1, 3-4)
324 The Daffodil (“Easter bloom! A potent drink”)➤ 229

3. You to inherit
Gave Constantine
Glory and merit,
Gold coronal ﬁne.
In God’s empire,
Higher and higher
Rose your celebrity’s sign.

325 Child Welfare Day Song (“We boys and girls wewaken”)➤ 230
326 “Preserve your soil, each Danish man!”
Digniﬁed, but not too slowly➤ 233

4. Strong foes we’re meeting,
Cross! in your track,
Clay we’re defeating,Taken aback,Wins in addition
Heaven’s admission,
Never disturbed by attack.

327 “Ah, Bethlehem, your Christmas snow”
Ah, Bethlehem, your Christmas snow
Will fall in ﬂakes, fall lightly,Will sow the seed that comes to growOn timeless ground so sprightly!
Let snowy kernels fall and ﬁnd
Their places in each frozen mind
Which cold is nagging nightly!

N.F.S. Grundtvig
329 “A fair and lovely land”
Warmly and cheerfully➤ 262 (stanzas 1-3)
Ah, Infant Jesus in the stall,
Let now no voices carry!
There is no other nook at all
Where I would rather tarry.
My fall, my peril I condemn,
Lend me abode in BethlehemWith you and with Saint Mary.

330 “The Danish song is a fair young maiden”
Broadly and mildly➤ 191
331 To My Native Island (“You’re gently rocked in blissfulbed”)

Johannes Jørgensen
1. You’re gently rocked in blissful bed
On cushions blue,
While over mottled ﬂower spread
Small larks anew
Will praise your beauty in eternal paeans.
And every summer morning’s dawn

328 “Banner, we hail thee!”
Cheerfully

1. Banner, we hail thee!
White is your cross!

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7. From verdant wood, from lake and lea,
From nook and keep
The notes are in the sky set freeIn swelling sweep;Not few have lifted legend through the ages
But more, though, have in skylarks’ ways
Exulted all their worldly praise
So Bragi’s legacy, still kept, engages.

When light above each town is born
You’re blessed by hosts of happy birds for aeons.
2. As there you’re swinging, mild and round,
You ﬂower isle,
In waves of brine, so fresh and soundYou even smile, –A bathing goddess happily exposes
Her bodily magniﬁcence
While Flora gen’rously presents
Around her bosom’s curve a band of roses.

8. And thus, your Funen talk was like
The warbling bird’s.
No sound of steel from swords that strike
But tuneful words
And more from strickle’s rap on scythe and cutter;
The smiling sun has passed away
Like mist of moor, like scent of hay,
And, day bygone, like beeches’ gentle mutter.

3. Of Bragi, singing’s warden e’er,
A saying goesThat he was born at Odin’s chair,
On Funen rose,
Became the ﬁrst of scalds in Northern nation,
And verse and song and music’s might
Came under his regime; this right
Made Funen singing’s core to all creation.
4. And Ithunn, fairy of the youth,
Became his bride;
Each tone would tremble with, in truth,
Its joy untied
As Singing married Youth as they desired;
Then Bragi made a splendid song
Of hearts and how they’re feeling strong, –Two, from the greatest pow’r on Earth inspired.

9. So hail thee, hail thee, precious isle!
Your past will show
How woods turn green, how seeds awhile
Begin to grow,You’re then the paradise of Northern nation.
Let songs emerge from every breast –So jubilant from joy impressed
By plain, devoted life amidst creation.
S.P. Raben-Korch
332 Lay of the Nordic Harp (“Nordic harp, how resplendent!”)

5. And Youth with Singing, this is trust
In spring of life.
The noble two would then adjust
As man and wife,
Since then they lived together, fondness-ridden,
While Funen was a singers’ hall,Protection for each kaldic call, –So many names on Yggdrasil are hidden.

Proudly and ﬁrmly, but not too slowly

1. Nordic harp, how resplendent!
Single string is weak –No one’s denying whether
This harp possesses might
As long as its strings unite –Brother souls together.

6. And as your day was born in song,
You picked up this:What’s ringing cheerfully along
You’ll no more miss,And thus, when strings are tuned, you listen,
Exerting happier your call
In ﬁeld and mead, in barn and stall,But best when in your breast their traces glisten.

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2. Nordic harp, how resplendent!
Strings in ﬁves lie tight,
Heavily o’er its framing.
Saga’s tremendous handHas played it with wit well planned,
Twiny tones inﬂaming.

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The blest water lily in whiteness would know us
And open its secret for us to befall.

3. Nordic harp, how resplendent!
Blood of bears alike
Flooded its heart entire.
Crushed by assault awhile
The Nordic would even smile
Through distress and ﬁre.

2. You gave us the acres so wide and so waving,
Ears ripened and golden from sun overhead,With clover in fragrance of summer behaving
As sweet as a violet, as healthy as bread,
Where skylark at dawn, for the heights it is craving,
Reveals for the skies what the rooster has said.

4. Nordic harp, how resplendent!
Brother strings in scores
Rising t’ward stars ascendant –That harp possesses might
As long as its strings unite –Nordic harp, how resplendent!

3. You gave us the forest so deep and embracing
With sun-spotted shadow, with sunken road spell,
Where workday is festival, silence enlacing,
From springtime in May till October farewell.
On footpaths, in high-vaulted halls we’ll be facing
The Midsummer’s eve and the white-clad Noel.

Aage Berntsen
CONTRIBUTION TO ‘MELODIES FOR THE
SONGBOOK ‘DENMARK’’

4. You gave us the heavens where clouds always hurry
To play and to ﬁght in their blustery lope
Till once more in stillness they smile with a ﬂurry,
Reborn now and blessed in the sunbeams’
mild scope.
The short summer night, where the day restsfrom worry
With half-open eyes, is unquiet from hope.

333 “Denmark with your verdant shore”➤ 199
334 “A fair and lovely land”➤ 262
335 “Rose is blooming now in Dana’s borders”➤ 94 (stanzas 1-2, 4-9, 11-12)

5. You gave us the wastefully wandering waters,
Our path and protection named: come and allure,
While cruising along by our beeches and quarters
As dark as the grave, blue as heaven when pure,
And weaving a garland like one from your daughters
And sounding the anthem, “May Denmark endure!”

336 “Let people, just a few, be right”➤ 252
337 “Morning dew that slightly trembles”➤ 128

Helge Rode
338 “Look about one summer day”
➤ 106
339 Danish Patriotic Song (“Sing, Danish man! With all
your might”)➤ 167
340 “You gave us the ﬂowers that glistered to show us”
1. You gave us the ﬂowers that glistered to show us
Their fairy-light beauty when once we were small,
The gay-coloured meadows were eager to show us
To run for the red ones and blue ones and all,Carl Nielsen Udgaven CN 00051

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341 Denmark (“We dote on our ﬂowering native land”)➤ 242
342 “There’s a ﬂeet of ﬂoating islands”➤ 124
343 “So dear my native land, thy name so sweet”➤ 254
344 “There out of the fog looms my ancestors’ land”
➤ 107

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At watercolours of its air
Down there.
The frog will rattle off and hide
Around the sleepy eventide.
I shall suggest
Myself a rest
And end with this my stroll so long
In song.

345 Homesickness (“Odd and unknown evening breezes!”)➤ 90 (stanzas 1-4, 6-9)
346 “The tedious winter went its course”
1. The tedious winter went its course,
The day so dim, the night in force
Will cautiously
Quite altered be;
The heavy gale, the gloomy sea
Must ﬂee.
You do not fear that persons meet,
When going out, with snow and sleet;
For let us go,
Behold and lo
How ﬁnely nature, like erewhile,
Will smile.
2. Ah, see how nice the sun out there,
With rays of brightness in its hair;
The ring of light
Is coming rightTo everything that now may sprout
About.
Look, birds in ﬂocks will ﬂy and call
In airy, spacious summer hall:
One ﬂies a twig
Not very big,
Another gathers wool and straw
Galore.
3. Ah, see a lovely sight right now
In greenwood’s verdant bushy brow;
Its top up highIs dressed thereby
As spring adorns the beech a bride
With pride.
The herdsman watches cow and corn,
A yap of dogs, a sound of horn
Are all his play;
Hark far away
How fair the greenwood gives a shy
Reply.
4. Ah look how mirror-like and brightThis mere, however, is set right;
It is as if
The sun will sniff

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5. Thus is all heaven, water, earth
Enlivened by its maker’s worth;
I went around
Midst all and found
God’s will in each one born to be
You see.
He hits undoubtedly the time
When skies again become sublime;
I shall maybe
Descry and see
My winter into spring appear
This year.
Ambrosius Stub
347 “Jubilation, shouts of glee”➤ 207
348 “Springtime hedge is green”
May also be performed as a two-part song by omitting thelowest part.

➤ 188
349 “Now the day is full of song”➤ 98
350 Maids in the Wood (“In shadows we wander”)➤ 89
351 “The greenwood leaves are light now”
➤ 143
352 “Oh, how glad I am today!”➤ 190
353 “Now sun arises in the East”➤ 71
354 “In peace, I lay me down to sleep”
➤ 189

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Glister now like Gimlè slate!
Cockcrow message
As a presage
Of a day in bright’ning state.
Wake up! wake up, Danish brave men!
Buckle on your sword and glaive, then!
Early morn in gold is born.

355 “Silent as a stream’s meander”➤ 184
356 “Sun arises! Treetop guises”
1. Sun arises!
Treetop guises
Glister now like Gimlè slate!
Cockcrow message
As a presage
Of a day in bright’ning state.
Wake up, wake up, Danish brave men!
Buckle on your sword and glaive, then!
Day and deed a giant rhyme.

N.F.S. Grundtvig
357 “The barques would meet on a sunset wave”➤ 135
358 “Grown together, sundered nation”
1. Grown together, sundered nation,
In this hour of destiny.
One the tribe, one its elation,
One its ardour for to see.
Spring will now from winter well.
Healed are wounds of bitter spell,
Mended Denmark’s lesion.
Sorrow-laden bound’ry stream,Once again your wave shall gleam,
Bringing glad cohesion.

2. Loud resounding,
Lures are rounding
Fighters up from morning doze,
Beams go under,
Blazes thunderOver verdant grove and close.
Wake up! not to wine and laughter,
Nor to royal grace thereafter!
Hildur’s game is now at hand!

2. Walls were toppled, chains repented,
Strangled lung now draws the air,
Vessels of our wrath were vented,
Danish tongue had suffered there.
Unrestrained by foreign yoke
Sound the decent words of folk,
Mother’s words reminding.
Bake the bread your own shall eat,Denmark’s rye and Denmarks wheat
Dybbøl mill is grinding.

3. Swords and targes‘Gainst the charges
For Rolf Krage’s bravery!
Straight he gazes,
Dreads no blazes,
Naught, but sight of knavery.
Sparkling ring and sword with edges
Mildly offered he for pledges;
Who is his defender now?
4. Rolf may crumble,
Bjarka stumble,
Hjalta welter in his blood,
Lejre’s building,House of Scylding,Bow for Hjartvar with a thud,
Lost the battle, though, the latter,
Just as embers cool and scatter,
Final spark it kills him off.

359 “Gone are the days, they’re past and olden”➤ 116
360 Song of the Young (“The stress of years could not jadeour mind”)➤ 155
361 Hymn to Denmark (“Denmark, a thousand years”)➤ 111

5. Sun arises,
Treetop guises

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362 “Is your dwelling low and tight”

365 “We free Nordic nation”
1. We free Nordic nation,
Take the whole world as our station,
Land and sea will so awaken
Good old Denmark’s youth who’ve taken
Turns that they’ll be worth their salt.
Your fate you can’t ﬂatter,
Fit and proud, go meet it, then,That’s the matter,That’s the aim for men.

1. Is your dwelling low and tight,
Raise then more your spirit,
Set it loose in hearty ﬂight,
Sing for all to hear it.
Whistling lonely, realize,
As the world you wander,
Only songs from hundreds rise
T’ward the wide blue yonder.
2. As so oft your kite did rise,
Bragging with its whiteness,
High in gusty summer skies,
Played upon its lightness, –Will your thinking free and strong
T’wards the height aspire
Riding on your breath of song
Turn into a ﬂyer.

2. We small Nordic nation,
Fill but modestly this station.
No one, if he’s not a snatcher,
Adds a cubit to his stature,
But an inch or so will do.
He is fortune’s minion,
He who braves abuse and force.
Proud opinion,
You will lead our course.

3. Open then your eyes to know!
Listen now discreetly!
O so much will come and go,
Fore your heart completely.
Days will come and days will pass,
Each of them you’re toiling,That in time you may amass
Knowledge, never spoiling.
4. Life will call you before long,
Pull your strength together!
Let your soul in choir of song
Ride on wave and weather.
Whistling lonely, realize,
As the world you wander,
Only songs from hundreds rise
T’ward the wide blue yonder.
L.C. Nielsen

3. We, free Nordic nation,
Take our place within this station.
Over land and sea we’re biding.
Good old Denmark’s youth is striding
With the whole world’s might in step.
Give sweat, blood, give caring,
Just give everything you can.
Only daring
Will make free the man.
Valdemar Rørdam
366 “Mighty the realms that rend earth asunder”➤ 258
367 Song of the Sea (“Seas surrounding Denmark”)➤ 31

363 “Simple-rooted, simple-rooted!”➤ 125 (stanzas 1, 5-6)

368 “When summer song is ﬁnished”➤ 134

364 “Build on lowland, not above it”➤ 257

369 “Sleep, my child, sleep sweetly”
1. Sleep, my child, sleep sweetly,
I rock your cradle neatly,
Fan away the ﬂy I ﬁnd,

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Calling dreams into your mind;
Sleep, my child, sleep sweetly.
2. Strong as vines a-winding
You cast off ev’ry binding,
Leave your mother’s gentle arm
For the wild and worldly harm,
Strong as vines a-winding.

376 “When babies whimper before the candle”➤ 187
377 Boxers (“Wanna hit me”)
* b. 4: Hum, Hem, etc. as brutal punches.

1. Wanna hit me,
Try and twit me,
Wanna come and get a clout?
Hum, hem, hum, tsim, tam!
You got me then,Take that again,
Now now! A bloody snout.

3. Don’t forget your childhood
Nor mother’s sighs and mild mood!
When you outgrow youthful play,
Don’t forget to pray each day,Don’t forget your childhood!

378 “Thread has broken, wheel has stopped”
4. Rose of joy is glowing,
But round it thorns are growing;Thorns I take when coming through,Roses set aside for you,
Rose of joy is glowing!

1. Thread has broken, wheel has stopped,
Tune too; what a pity.
Song of youth will soon become
Just an ancient ditty.
H.C. Andersen

5. Wake up with a twinkle
Like merry birds that tinkle!
Here your nest is soft and calm:
Mother’s knee and mother’s arm;
Wake up with a twinkle.

379 “Watchman, I beg you, please stop with your song”
1. Watchman, I beg you
Please stop with your song
To wish me a good night,
When you sing I waken at once,
But when you hush, it’s then I can sleep.

Christian Richardt
370 “Sparrows hushed behind the bough”➤ 185
371 “Farewell, my respectable native town!”➤ 96

Ludvig Holberg
380 “It is not always the case”
1. It is not always the caseThat from nothing ever comes nothing.
You became minister, something thus
Comes then, from a naught:
A fool.

372 “Now you must ﬁnd your path in life”➤ 88 (stanzas 1, 3-5)
373 “Two larks in love have nested”➤ 182
374 “Look! The sun is red, mum”
➤ 183

Ludvig Holberg
381 “You will laugh at harm and famine”
Original in C major for treble and tenor.

375 “The ﬁddler is playing his ﬁddle”

1. You will laugh at harm and famine and
You need not fear all the beasts on earth,
For with ﬁeldstones you will have a covenant,
The wildlife always will be at peace with you.

b. 9: Or other syllables which imitate instruments.

➤ 186

Book of Job 5.2.2.

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389 Children’s Song (“Come today and join the chorus”)

382 “Silence and Darkness”

Somewhat stridingly

1. Silence and Darkness,
Sun will arise to delighted devotion
Wander its (golden) path,
Quietly sink to the sea.

➤ 236
390 Hymn to Denmark (“Denmark, a thousand years”)➤ 111

E. Christiansen after Carl Nielsen
391 Danish Patriotic Song (“Sing, Danish man! With all
your might”)➤ 167

SEPAR ATE SONGS
383 Grasshopper (“Grasshopper sits in the meadow”)
Fast

392 “Like golden amber is my girl”➤ 118

The stanzas to be sung immediately after each other.

393 Hymn to Life (“Universal power”)
1. Grasshopper sits in the meadow
By aestival evening glow,
Singing his am’rous numbers,
Courting his sweetheart so.

With fresh dignity

1. Universal power, who the sun made pregnant,Life forever drips your consecrated ﬁre.
Unrepentant Maker, ever potent, regnant,Light for us in darkness, inﬁnite desire.

2. Songbird he does not resemble,
His wings are at most for show;
Fiddler out in the open,
How’s your music a ﬂow?

2. Deep in darkness’ belly, solar mothers’ notions
Sink like golden semen germs of starlight seed.
Awe of birth begins to grow in deathlike motions,
Wave engenders wave in lakes of aeons’ breed.

3. Lively he plays on his ﬁddle
While nodding the time therein;
This leg, it is his bow andThat wing his violin.

3. Fount of love and passion, vigorous renewer,
Life and death take turns around the selfsame pole.
Light will never die. Behind the clouds a truer,
Godlike fountain’s day inﬂames empyrean whole.

B.S. Ingemann
384 The Spider’s Song from ‘Aladdin’ (“Behold my web, howfrail”)➤ 141

4. Beam produces beam, and power follows power.
Death is but the shadow that the night will bring.
Life’s eternal miracle will always ﬂower
And will ﬁll the universe with holy spring.

385 “Come, glistering sun!”➤ 319

Sophus Michaëlis

386 “Come, glistering sun!”➤ 319

394 “A fair and lovely land”➤ 262 (stanzas 1-3)

387 Morten Børup’s Song of May (“Jubilation, shouts ofglee”)

395 “Silent as a stream’s meander”
Calmly but not too slowly➤ 184 (stanzas 1-2, 4)

with cheerful expression➤ 207
388 Child Welfare Day Song (“We boys and girls we waken”)➤ 230

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396 “Skylark wings I used to carry”
1. Skylark wings I used to carry,May like his my song sufﬁce,
I have felt that, though I tarry,
Still I’ll come the paradise.
2. I have felt my soul is clinging
There, where fun and song reside;
Echoes of my youthful singing,
Here on earth with me abide.

403 “Springtime hedge is green”➤ 188
404 “Nigh to Noel, how very sad”
Seriously➤ 280
405 “We’re spinning now for Lizzy Lass”
In a narrative style

1. We’re spinning now for Lizzy Lass, for bodice andfor hose,
Too roo-de-nay, and too roo-de-noo,
But bodice made from silver and the hose fromgold – are those,
Falderille, falderille, too too too.

3. Leave my eyes in tears and blindness!
Given wings, my soul in truth
Will re-ﬁnd the way of kindness
To the castle of my youth.
4. Head held high I will go striding
Into darkness with a song
And I know, where Death is riding,
Spring will sprout again ere long.

2. And Lizzy walks her way along so soft and red
and round,Too roo-de-nay ...
She’ll meet out there a little prince in scarlet
abound.
Falderille ...

Michael Rosing
397 “I drive along in a splendent spell”➤ 263

3. Now listen, bonnie lass, to father’s castle now
we’ll go,Too roo-de-nay ...
For there we’ll play together, be trusty friends,
you know.
Falderille ...

398 “On straw and on feather the brooding call”➤ 273 (stanzas 1-2, 5)
399 “Denmark, now slumbers the Northern night”➤ 285

4. Alas, you dear and youthful prince, you cause me
great distress,
Too roo-de-nay ...
For I can never part from my Granny, I confess,
Falderille ...

400 “Denmark, now slumbers the Northern night”➤ 285

CONTRIBUTION TO ‘NEW MELODIES FOR JOHANBORUP’S DANISH SONGBOOK’

5. For blind she turned, poor woman,from too
much worldly harm,
Too roo-de-nay ...
Her loins are ever aching, as is her leg, her arm,
Falderille ...

401 “Morning cock again did crow”
With an enthusiastic ring➤ 279

6. If she had cried her eyes out for that little childof hers,
Too roo-de-nay ...

402 Springtime (“Springtime, springtime breaking
through”)
Hymn-like➤ 313

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Feels he grows smaller year by year,
Hears what the bird is singing
Which, childlike, you are swinging.

Then may she head the table in ﬁnest clothes
and furs,
Falderille ...
7. If legs and loins from graft ache and hurt in
the extreme,
Too roo-de-nay ...
She then shall ride a noble coach, yes, one withdouble team,
Falderille ...

5. Chattering bird, what would you ﬁnd here
Over the lofty mountains?
Nesting o’er there was best, I fear,
Wider the view and trees growing near;
I’d wish for wings, returning,
But all you brought was yearning!

8. Now granny spins the supple yarn for tick andcushion best,
Too roo-de-nay, and too roo-de-noo,
Where little Lizzy Lass together with her prince
will rest,
Falderille, falderille, too too too.

6. Shall I then never, never get
Over the lofty mountains?
Will this enclosure my thinking set
Whether with snow-ice or dread I’m met,
Locking me up as a favour,
Cofﬁn at last for cadaver?

Martin Andersen Nexø7. Out will I, out, oh so far, far, far,
Over the lofty mountains.
All so oppressively tries to bar
Youthful courage, even to mar,
Let it the steep rise betoken,
Not ‘gainst the edge being broken.

406 “Wonder whatever I get to see”
Metrically free

1. Wonder whatever I get to see
Over the lofty mountains?
Snow a cover on house and lea,
All around me the verdant tree,
Stuck in this ground of gravel;
When will it dare to travel?
2. Eagle rises with sturdy strokes
Over the lofty mountains,
Rowing along in daylight evokes
Vigorous valour and feral croaks,
Sinking where’er it chooses,
Looking afar as it cruises.
3. Leaf-laden apple tree with no will
Over the lofty mountains,Twitches, come summer, standing still,
Waits for the next time if it will,
All of its birds are swinging,
Unconscious of their singing.

8. Once, I am sure, reach out there it would
Over the lofty mountains.
Maybe your door’s left ajar, as it stood?
Master, my God! Your home is good;
Still I renounce sojourning
And be conceded my yearning!
Bjørnstjerne Bjørnson
407 “Sparrows hushed behind the bough”➤ 185 (stanzas 1, 5, 7-8)
408 “In shadows so bracing”
Warm and romantic➤ 266
409 “A sailor with a plucky breast”
Bluffy4. He who has longed, then, to leave each year
Over the lofty mountains,
He who knows that he won’t come near,

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1. A sailor with a plucky breast
Is never short of money,
Loss whets the wish to ﬁll his chest,

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2. No more I go unaided
By hope of God and friends,
But I’m with joy pervaded
And fortitude that faded
Enjoyably ascends.

And penury is but a test
Until again it’s sunny.
2. The sea may plunder then its friend
And cast him into trouble,
He’ll only laugh and make it send
Back what was stolen and extend
Its value more than double.
3. He saddles dauntlessly the sea
Whene’er his heart beseeches,
He rides atop the waves with glee
And gives that steed a rein so freeT’ward gold-encrusted beaches.

3. Oh hark, how all’s providing
A welcome home again.
Maybe it’s not abiding;
But then, as spring is riding,
The shoots come up again.
Bjørnstjerne Bjørnson
415 “This force which gave me my little song”
Mildly4. Straightway he’s rich as he could want,
With wealth and passion laden,
Sets royal sail the wind to taunt
And takes off on a merry jaunt
Back to his waiting maiden.

1. This force which gave me my little songHas caused that life order’s joy and sadness
Were sun and rain of delighted gladness
As urge for spring in my soul’s made strong,
Whate’er betided
It broke no one,
By song it’s guided
Till love begun.

Johannes Ewald
410 “An old smallholder at his ground”
Calmly➤ 264
2. This force which gave me my little song,
It gave me friendship with all that yearning,
And so just shortly, could I be turning
To smug self-righteousness, bad and wrong;
I must draw nearer
Howe’er ‘tis done,
And see it clearerWith love begun.

411 “You and I, everyone must qualify”
March tempo➤ 265
412 “I drive along in a splendent spell”
Mildly➤ 263

3. This force which gave me my little song
May give me strength to get through to others
So that I, searching for sisters, brothers,
May please some beings the road along.
I know not whether
You ﬁnd more fun
Than song together
In love begun.

413 “Dannebrog, ﬂag in a ﬂutter”
Proudly➤ 282
414 “I’m really so delighted”
Light and easy

1. I’m really so delighted,
But up to now was blind,This friend again I’ve sighted
With whom I stand united:
My splendid state of mind.

Bjørnstjerne Bjørnson
416 “Now, did the rake get its latter prong”
Fresh and bluffy➤ 283

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Thews and plain race to train
Straighten it again.

SEPAR ATE SONGS
417 Lullaby (“Sleep my lad now, my lovely, my tot”)
Sleep my lad now, my lovely, my tot,
Sorrow’s on guard as you’re sleeping,
Mother with rags has made up your cot,
You’re lulled by our sighs and our weeping.

2. Early morn, chest reborn,
Dancer’s leg like blacksmith’s brawn,More, it’s clear, year by year
We are getting here.

Carl Nielsen ?
3. Here unawed, as abroad,
We’ll resist the hostile horde.
Upright guard, no holds barred,
Come, we’ll hit out hard.

418 “We sov’reign Nordic nation”
March tempo

1. We sov’reign Nordic nation,
Take the whole world as ous station,
Land and sea will so awaken
Good old Denmark’s youth who’ve taken
Turns that they’ll be worth their salt.
Your fate you can’t ﬂatter,
Fit and proud, go meet it, then,That’s the matter,That’s the aim for men.
2. We sov’reign Nordic nation,
Fill but modestly this station.
No one, if he’s not a snatcher,
Adds a cubit to his stature,
But an inch or so will do.
He is fortune’s minion,
He who braves abuse and force.
Proud opinion,
You will lead our course.

Ernesto Dalgas
420 “God’s peace is more than angel guard”➤ 56
421 “The South I’m leaving”
Broadly swinging➤ 239 (stanzas 1-4)
422 Springtime (“Springtime, springtime breaking
through”)➤ 313
423 “My welcome, little lark!”
1. My welcome, little lark!
Your lyre I love to hark,
So sweet and pure and joyful altogether,A sound of harp, it swells
Like merry pealing bells
That ring in spring despite the wintry weather.

3. We, sov’reign Nordic nation,
Take our place within this station.
Over land and sea we’re biding.
Good old Denmark’s youth is striding
With the whole world’s might in step.
Give sweat, blood, give caring,
Just give everything you can.
Only daring
Will make free the man.

2. You bird of faith and spell
That tarries for NoelAnd ceases only at the yearly gloaming,
Then in a paean, he,With shoots for all to see,Will bode aloud a genial spring while roaming. –3. Come, teach me every note
Of hope that’s in your throat,
That forces you at ﬁrst light to awaken,
Teach me, the best you know,
To see, through gloom and snow,
The Whitsun radiance, hid in mist, unshaken!

Valdemar Rørdam
419 Student Thoughts in the Gymnasium (“Inglenook,
printed book”)
March tempo

1. Inglenook, printed bookMade more bent than bright your look,

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Christian Richardt

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E NG L I S H

T I T L E

I N D E X

Capital letters: title of collections
Italic: song titles
Roman: ﬁrst lines and secondary titles
Numbers in bold: song numbers referring to bothmusic and English translations
A fair and lovely land | Der er et yndigt Land 262, 291,
307, 308, 329, 334, 394
A holy life, a blessed death | Et helligt Liv, en salig Død
49
A merchant, all day staying | En Købmand, han staar
bøjet 110
A mother at the feast was told | Ved Festen ﬁk en Moder Bud 120
A sailor with a plucky breast | En Sømand med et modigt Bryst 409
A silent ﬁle will reach | Der går et stille tog 277
A thousand tongues my pure desire | O, havde jeg dog
tusind Tunger 72
A wondrous isle is the world, indeed | Det er et Under
paa Verdens Ø 44
Afﬂictus sum 297
Ah, Bethlehem, your Christmas snow | Ak, Julesne fra
Bethlehem 327
Ah, my rose will fade away | Ak, min Rose visner bort 38
All hail, you hawk over ﬁr-tree crest | Vær hilset Høg
over Granetop 21
All the developing shadows | Alle de voksende Skygger
220
Although I’m more convinced than not | Endskønt jeg
ganske sikkert ved 322
An angel stood beside me | Der stod en Engel hos mig
34
An old smallholder at his ground | Den gamle Husmand staar ved Gavl 264, 410
Anxiety | Angst 221
Apostles convened in Jerusalem | Apostlene sad i Jerusalem 271
Apple Blossom | Æbleblomst 11
Are you discouraged, dearest friend | Est du modfalden, kære Ven 234
Are you tired, says the Master | Herren siger: Er I trætte
60
Ariel’s Song | Ariels Sang 237
As dew on grassy acre | Som Dug paa slagne Enge 235
As I consider time and day | Naar jeg betænker Tid og
Stund 70
As moonlight entrances | I Maaneskin titter 289

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As Odin beckons | Naar Odin vinker 91
As the golden sun emerges | Som den gyldne Sol frembryder 80
At last the spring’s upon us | Nu er da Vaaren kommen
99
Autumn’s near | Det är höst 284
Ballad of the Bear Op. 47 | Balladen om Bjørnen, op. 47 251
Banner, we hail thee! | Hil dig vor Fane! 328
Be blest forevermore, our Lord, our God | Velsignet
være du, vor Herre, Gud 231
Behold my web, how frail | Betragt mit svage spind
melody a: 141, 148, melody b: 384
Benedictus, benedictus Dominus 299
Beyond black woods the moon already rises | Alt Maanen oprejst staar bag sorte Skove 114
Bid me to live, and I will live | Byd mig at leve 315
Bonnie Ann | Tag jer iagt for Anna! 216
Boxers | Bokserne 377
Build on lowland, not above it | Byg paa Sletten, ej paa
Tinden 257, 364
Catholic Song of Youth | Katholsk Ungdomssang 231
Child Welfare Day Song | Børnehjælpsdagens Sang 230, 305,
325, 388
Children’s Song | Barnets Sang 236, 389
Christianity, lo! | O Kristelighed! 75
Christianshavn 241
Christmas Carol (Come, Christmas, come, exalted guest)| Julesang (Kom, Jul, til Jord, kom høje Gæst) 248
Christmas Carol (Heaven’s gloom a world apart) | Julesang(Himlen mørkner stor og stum) 249
Clamour rises in morning light | Raabet stiger iMorg’nens Skær 37
Clouds ﬂoating by you, cyclades of beauty | Svømmende Skyer, dejlige Cyclader 1
Come, Christmas, come, exalted guest | Kom, Jul, til
Jord, kom høje Gæst 248
Come, glistering sun! | Kom blankeste Sol! 319, 385,
386
Come, God’s angel, silent Death | Kom, Gudsengel,
stille Død 303
Come today and join the chorus | Kom, i Dag maa allesynge 236, 389
CONTRIBUTION TO ’60 DANISH CANONS’ | BIDRAG TIL‘60’ DANSKE KANONER 377-382
CONTRIBUTION TO ‘A SCORE OF DANISH SONGS, 1915’| BIDRAG TIL ‘EN SNES DANSKE VISER 1915’ 87-98
CONTRIBUTION TO ‘A SCORE OF DANISH SONGS, 1917’| BIDRAG TIL ‘EN SNES DANSKE VISER 1917’ 99-109

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CONTRIBUTION TO ‘MELODIES FOR THE SONGBOOK’DENMARK’’ | BIDRAG TIL ‘MELODIER TIL SANGBOGEN ’DANMARK’’ 333-376
CONTRIBUTION TO ‘NEW MELODIES FOR JOHANBORUP’S DANISH SONGBOOK’ | BIDRAG TIL ‘NYE
MELODIER TIL JOHAN BORUPS SANGBOG’ 401-416
CONTRIBUTION TO ‘THE FOLK HIGH SCHOOL MELODY
BOOK’ | BIDRAG TIL ‘FOLKEHØJSKOLENS MELODIBOG’ 145-177
CONTRIBUTION TO ‘THE FOLK HIGH SCHOOL MELODY
BOOK, SUPPLEMENT’ | BIDRAG TIL ‘TILLÆG TIL
FOLKEHØJSKOLENS MELODIBOG’ 196-213
Country to come! | Fremtidens Land! 278
Dancing Ballad | Dansevise 19
Danish Patriotic Song | Fædrelandssang 167, 224, 300,
320, 339, 391
Danish Weather | Dansk Vejr 268
Dannebrog, ﬂag in a ﬂutter | Dannebrog, vift med din
Vinge 282, 413
Dark is failing, day prevailing | Mørket viger, Dagenstiger 243
Dawn | Gry 243
Denmark | Danmark 242, 253, 341
Denmark, a thousand years | Danmark, i tusend Aar
111, 361, 390
Denmark, now slumbers the Northern night | Danmark, nu blunder den lyse Nat 285, 399, 400
Denmark with your verdant shore | Danevang med
grønne bred 199, 333
Denmark, ye corn-golden daughter | Danmark, du
kornblonde Datter 294
Denmark’s summer went along | Danmarks Sommer
gik sin Gang 240
Do you feel how your mind from the sunshine grows
lighter | Kan I mærke, det lysner af solskin i sindet
206
Dominus regit me 298
Earth, whose embrace | Jord, i hvis favn 129, 149
Easter bloom! A potent drink | Påskeblomst! En dråbe
stærk 146, 229, 324
EIGHT SONGS FROM HELGE RODE’S PLAY ‘THE
MOTHER’ OP. 41 | OTTE SANGE FRA HELGE RODESSKUESPIL ‘MODEREN’ OP. 41 117-124
E’en when tempest oppresses | Selv naar Tordenen
tynger 237
Evening | Aftenstemning 321
Farewell, my respectable native town! | Farvel, minvelsignede Fødeby! 96, 174, 371
Filled with ﬂowers ﬂushes branch of apple tree | Fyldt
med Blomster blusser Æbletræets Gren 13

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FIVE SONGS FROM L.C. NIELSEN’S PLAY ‘WILLEMOES’| FEM SANGE FRA L.C. NIELSENS SKUESPIL ‘WILLEMOES’ 27-31
Flower Lay | Blomstervise 240
Flower pollen from profusion | Blomsterstøv fra Blomsterbæger 295
Foaming high, the waters rushed heavily ashore |Skummende laa Havet 293
Follow he who follow can! | Følger hvo som følger kan!
29
Food, clothes, and vessel, tent tight and felted | Føden
og Klæden, Baaden og Teltet 246
Forget she did! my woe is in vain! | Hun mig har glemt!
min Sorg hun ej see! 103
Fortune has lately left you | Vender sig Lykken fra dig
92, 168
FOUR “FOLKELIGE” MELODIES | FIRE FOLKELIGE MELODIER 178-181
FOUR SONGS FROM LUDVIG HOLSTEIN’S PLAY ‘TOVE’| FIRE SANGE FRA LUDVIG HOLSTEINS SKUESPIL‘TOVE’ 32-35
FOUR SONGS IN JUTLAND DIALECT TO TEXTS BY ANTON BERNTSEN | FIRE JYDSKE SANGE TIL TEKSTER
AF ANTON BERNTSEN 192-195
Fowler Lay | Fuglefængervise 33
Free language of our mother | Du frie, danske Tunge 247
Freedom is the purest gold | Frihed er det bedste guld
142, 157
From ﬂame your life was given | Af Flamme blev du
avlet 314
Genre Painting | Genrebillede 6
Give shelter for two poor creatures | Gi Husly til to
Persowner 25
Gladly we listen when music may carry | Gerne vi lytter, naar Strængene bringer 302
God, the great creator | Gud skal al Ting mage 57
God’s angels, unite! sing in chorus your praise! | Guds
Engle i Flok! 55
God’s peace is more than angel guard | Guds Fred er
mer end Englevagt 56, 420
Gone are the days, they’re past and olden | Udrundne
er de gamle Dage 116, 140, 147, 312, 359
Gone is the daytime | Vegen er Dagen 18
Good Night | Godnat 26
Grasshopper | Græshoppen 383
Grasshopper sits in the meadow | Græshoppen sidder
paa Engen 383
Greeting | Hilsen 16
Grown together, sundered nation | Søndret Folk er
vokset sammen 358
Halloge’s Song | Halloges Sang 228

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Happiness is born today | Glæden hun er født i Dag 54
Hawk | Høgen 21
Heaven’s gloom a world apart | Himlen mørkner stor
og stum 249
Heavy, gloomy clouds of night | Tunge, mørke natteskyer 137, 165
Hold on to me, around me | Hold fastere omkring mig
221
Homecoming | Hjemstavn 276
Homely Noel | Hjemlige Jul 250
Homely Noel, splendently near! | Hjemlige Jul, straaler
Du nu! 250
Homesickness | Hjemvee 90, 163, 309, 345
How impressive to live in the realm of the dreams | Det
er herligt at leve i Drømmenes Land 222
How sweet, as summer day is fading | Hvor sødt I Sommer-Aftenstunden 100
How wonderful to ponder | Forunderligt at sige 50
Hunter’s Song | Jægersangen 35
Hushaby now, baby li’l! | Visselulle nu, Barnlil! 113
Hymn to Denmark | Hymne til Danmark 111, 361, 390
Hymn to Life | Hymne til Livet 393
HYMNS AND SPIRITUAL SONGS | SALMER OG AANDELIGE SANGE 38-86
I call out loud, oh Master | Jeg raaber fast, o Herre 64
I dreamed up to now as good as each night | Før
drømte jeg fast hver eneste Nat 3, 318
I drive along in a splendent spell | Jeg kører frem gennem Straalefryd 263, 397, 412
I found support | Jeg fandt en Trøst 63
I know a little paradise | Jeg ved et lille Himmerig 65
I Love my Jean | Længsel 316
I met with a song as I walked on my way | Jeg mødte en
Sang paa den alfare Vej 30
I only looked back | Jeg så kun tilbage 127, 150
I take with a smile my burden | Jeg bærer med Smilmin Byrde 97, 166, 310
I truly like your easy gait | Jeg synes om din lette Gang
225
I wander over my ancestors’ earth | Jeg vandrer overmine Fædres Jord 276
I’m really so delighted | Jeg er saa glad i Grunden 414
Iceland | Island 287
If day has gathered all its woe | Har Dagen sanket al sin
Sorg 5
If torrents rush against you | Om strømmen mod dig
bruser 211
In former ages, – Fore hundred thousand years oftime’s rampages | I gamle Dage – for over hundred
tusind Aar tilbage 287

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In peace, I lay me down to sleep | Jeg lægger mig saa
trygt til Ro 189, 354
In Seraglio Garden | I Seraillets Have 2
In shadows so bracing | I kølende Skygger 266, 281,
408
In shadows we wander | I Skyggen vi vanke 89, 176,
288, 350
In shining sun I steer my plough | I Solen gaar jeg bag
min Plov 14, 213
In the tower sat the page | Pagen højt paa Taarnet sad
6
Inglenook, printed book | Ovnekrog, Lærebog 419
Irmelin Rose | Irnelin Rose 4
Is your dwelling low and tight | Er din Stue lav og
trang 362
It is not always the case | Ikke det altid slaar til 380
It’s over for a short respite | Nu er for stakket Tid forbi
296
It’s spreading everywhere with us | Den trænger ud til
hvert et sted 269
Jock Miller and Anne Marie | Jens Madsen å An-Soﬁ 192
Jock Miller was a ﬁsherman | Jens Madsen wa en Feskermand 192
John the Roadman | Jens Vejmand 22, 201
Jubilation, shouts of glee | Frydeligt med jubelkor 207,
347, 387
Jutes we’re born and jutes we’re staying | Vi er Jyder,
Børn af Landet 274
King Christian looked from his castle gate | Kong Christian stod paa Slotsholmens Grund 241
Lake of Memories | Erindringens Sø 12
Lay down, sweet ﬂower, your head | Sænk kun dit Hoved, du Blomst 23, 290
Lay from ‘Mogens’ | Vise af ’Mogens’ 10
Lay of the Nordic Harp | Kvadet om Nordens Harpe 332
Let people, just a few, be right | Lad en og anden have
Ret 252, 336
Lift up your eyes, all Christian men! | Luk Øjne op, al
Kristenhed 67
Like golden amber is my girl | Min Pige er saa lys som
Rav 118, 392
Like purest waters rise from deepest spring | Som dybest Brønd gir altid klarest Vand 138, 169
Listen, how its pinions scuttle | Hør, hvor let dens
Vinger smækker 108
Little Helen | Hellelidens Sang 17
Little Helen shoulders her peasant’s coat | Helleliden
aksler sin Kofte graa 17
Look about one summer day | Se dig ud en Sommerdag
106, 175, 338

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Look! The sun is red, mum | Solen er saa rød, Mor 183,
259, 374
Lullaby | Vuggevise 417
Maids in the Wood | Pigerne inde i Skoven 89, 176, 288,
350
Merchant Song | Købmands-Vise 110
Mighty the realms that rend earth asunder | Vældige
Riger rives om Jorden 258, 366
Moorland lark was a little bird | Hedelærken, den liden
fugl 132, 161
Morning cock again did crow | Morgenhanen atter gol
279, 401
Morning dew that slightly trembles | Morgendug, dersagte bæver 128, 162, 337
MUSIC TO FIVE POEMS BY J.P. JACOBSEN OP. 4 | MUSIKTIL FEM DIGTE AF J.P. JACOBSEN OP. 4 1-5
My heart was truly bitter | Saa bittert var mit Hjerte
122
My helmet’s weighing far too much | Min Hjelm er mig
for blank og tung 228
My home, where my forefathers’ tread | Mit hjem, hvor
mine fædres fjed 209
My Jesus, let my heart obtain | Min Jesus, lad mit
Hjerte faa 69
My little bird, where do you ﬂy | Min lille Fugl, hvor
ﬂyver du 102
My soul is dark | Min Sjæl er mørk 217
My welcome, little lark! | Velkommen Lærkelil 423
Native land! Native land! | Fædreland! Fædreland! 27
Neath the Cross of the departed | Under Korset stod
med Smerte 83
Ne’er may his words be forsaken! | Aldrig hans Ord kan
jeg glemme! 223
Nigh to Noel, how very sad | Ind under Jul, hvor er det
trist 280, 404
Nordic harp, how resplendent! | Nordens herlige
Harpe! 332
Now, did the rake get its latter prong | Har I nu Tænder
i Riven sat 283, 416
Now I shall wish you good night | No wil a sej Jer Godnæt 26
Now Is the Time, Smallholders! | Kommer I snart, I Husmænd!
37
Now, spring is leaping out of bed | Nu springer Vaaren
fra sin Seng 105, 171
Now sun arises in the East | Nu Sol i Øst oprinder mild
71, 353
Now the day is full of song | Nu er Dagen fuld af Sang98, 170, 349
Now you must ﬁnd your path in life | Ud gaar du nu
paa Livets Vej 88, 212, 372

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Odd and unknown evening breezes! | Underlige Aftenlufte! 90, 163, 309, 345
Of a’ the airts the wind can blaw | I hvor jeg end slaarØiet hen 316
Of what do you sing | Hvad synger du om så højt i detblå? 180, 198
Oft am I glad, still may I weep from sadness | Tidt er
jeg glad, og vil dog gerne græde 101
Oh hear us, Master, for your death! | O hør os, Herre,for din Død! 74
Oh Holy Ghost, my passion | O Helligaand! mit Hjerte
73
Oh, how glad I am today! | O, hvor jeg er glad i Dag!
190, 255, 352
Oh if I sat as Mary sat | O, sad jeg, som Maria sad 78
Oh Jesus, show me | Drag, Jesus, mig dog efter dig 47
On heights and on slopes my heart is set | Tilfjelds overBygden staar min Hu 218
On moorland barren, level | Alt paa den vilde Hede 39,
232
On straw and on feather the brooding call | Nu ruger
paa Reden i Fjer og Straa 273, 398
On to freedom, to light and to pleasure | Frem til Frihed til Lys og til Lykke 226
On Zealand’s fair and lovely summer isle | Paa Sjølunds
fagre, sommerskønne Ø 311
Once I had, oh once I had a daughter’s son, oh yea! |Havde jeg, o havde jeg en Dattersøn, o ja! 10
Once there was a king | Se, der var en Gang en Konge 4
Our Daughter | Wo Dætter 193
Our earth I magnify thousandfold | Vor Verden priser
jeg tusindfold 93
Out in the ﬁelds I was watching the sheep | Jeg gik imarken og vogtede får 270
Peace and pleasure for this treasure | Fred og Glæde,for dem græde 52
Peace with you! And with each being! | Fred med dig!
og Fred med eder! 51
Preserve your soil, each Danish man! | Fredlys din Jord,
Du danske Mand! 233, 326
Refresh yourself in song | Frisk op! endnu en Gang 53
Retrospect | Gensyn 286
Rise, all that God created here | Op al den Ting, som
Gud har gjort 76
Rise, ye Christians, and get ready! | Op, I Kristne, ruster
eder! 77
River of Gold | Guldﬂoden 272
Rose is blooming now in Dana’s borders | Rosen blusser alt i Danas Have 94, 164, 335
Roses lower their heads, weighed down | Rosen sænker
sit Hoved tungt af Dug og Duft 2

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Seas surrounding Denmark | Havet omkring Danmark
31, 203, 367
Serenade (Gladly we listen when music may carry) | Serenade (Gerne vi lytter, naar Strængene bringer) 302
Serenade (The blue waves are sleeping) | Serenade (See!
Luften er stille) 215
Shall ﬂowers, then, all wither? | Skal Blomsterne davisne 20
Shall we roam, my love | Skal vi vandre en Stund 214
She is a blithe and decent girl | Hun æ så møj en
hwalle Piig 193
Shooting down from the crest a kite | Glenten styrter
fra Fjældets Kam 35
Sign and word of cross a shock | Korsets Tegn og Korsets Ord 66
Silence and Darkness | Stilhed og Mørke 382
Silent as a stream’s meander | Tyst som Aa i Engen
rinder 184, 256, 355, 395
Silken shoe over golden last | Silkesko over gylden
Læst! 8
Simple-rooted, simple-rooted! | På de jævne, på detjævne! 125, 156, 363
Sing, Danish man! With all your might | Du danske
mand! af al din magt 167, 224, 300, 320, 339, 391
Singing illumines | Sangen har lysning 179, 197
Sir Oluf, your table has fork and dish | Hr. Oluf derbredes dig Dug paa Disk 19
Sir Oluf’s Song | Hr. Olufs Sang 18
Siskin Song | Sidskensang 301
SIX SONGS TO TEXTS BY LUDVIG HOLSTEIN OP. 10 |SEKS SANGE TIL TEKSTER AF LUDVIG HOLSTEIN
OP.10 11-16
Skylark wings I used to carry | Jeg har båret lærkens
vinge 396
Sleep, my child, sleep sweetly | Sov, mit Barn, sovlænge 369
Sleep my lad now, my lovely, my tot | Sov min lille, mindejlige Dreng 417
Sleep sweetly, little Sonja! | Sof sött, du lilla Sonja! 245
Sleep tight, my ducky little dear! | Sov ind mit søde
Nusseben! 95
Snow covers the ﬁeld, oh so deep and white | Højt ligger paa Marken den hvide Sne 104
So dear my native land, thy name so sweet | Kær est
du, Fødeland, sødt er dit Navn 254, 343
Song behind the Plough | Sang bag Ploven 14, 213
Song for Danish Labour | Sang for Dansk Arbejde 246
Song of Old Anders the Cattleman | Gamle Anders Røgters
Sang 36Song of the Sea | Havets Sang 31, 203, 367
Song of the Young | De unges sang 155, 227, 323, 360

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SONGS AND VERSES BY J.P. JACOBSEN OP. 6 | VISER OG
VERS AF J.P. JACOBSEN OP. 6 6-10
Sound it, heaven, sing it, earth | Ton det, Himmel, syng
det, Jord 81
Sparrows hushed behind the bough | Spurven sidderstum bag Kvist 185, 370, 407
Springtime | Foraarssang 313, 402, 422
Springtime hedge is green | Grøn er Vaarens Hæk 188,
348, 403
Springtime, springtime breaking through | Vaaren– Vaaren er i Brudd! 313, 402, 422
Steen Steensen Blicher 132, 161
STROPHIC SONGS OP. 21 | STROFISKE SANGE OP. 21
20-26
Student Thoughts in the Gymnasium | Student-Tanker i en
Gymnastiksal 419
Study on Nature | Studie efter Naturen 238
Summer Song | Sommersang 13
Sun arises! Treetop guises | Sol er oppe! Skovens Toppe
356
Sunset | Solnedgang 1
Sunshine over the neighbouring yard | Solen skinner i
Naboens Gaard 238
Teach me, star, precisely | Lær mig, nattens stjærne
178, 196
Temperance Song | Afholdssangen 226
TEN LITTLE DANISH SONGS | TI DANSKE SMAASANGE
182-191
Testament, as he was dying | Dengang Døden var i
Vente 123
The ancient woodland road I like well | Den gamle
Skovvei huer mig vel 219a, 219b
The barques would meet on a sunset wave | De snækker mødtes i kvæld på hav 135, 160, 357
The bear’s two cubs were murdered | De dræbte Bjørnens Unger 251
The blue waves are sleeping | See! Luften er stille 215
The boys of Refsnaes, the girls of Samsoe | De Refsnæsdrenge, de Samsøepiger 87, 173
The Daffodil | Påske-Liljen 146, 229, 324
The Danish bread, it grows on plains | Det danske Brødpaa Sletten gror 139, 244
The Danish song is a fair young maiden | Den danske
Sang er en ung blond Pige 191, 330
The ﬁddler is playing his ﬁddle | Den Spillemand spiller paa Strenge 186, 292, 375
The Flood | Syndﬂoden 144, 158
The great, white ﬂock begins to show | Den store, hvide
Flok vi se 41
The greatest master cometh! | Den store Mester kommer! 115, 130, 145

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The greenwood leaves are light now | Nu lyser Løv i
Lunde 143, 172, 351
The Haypole | Æ Lastræ 195
The larks are coming | Den første Lærke 24
The light from heaven, golden white | Det gyldenhvide
Himmellys 15
The Lord is a king, immensely great | Vor Herre, han er
en Konge stor 86
The noble nature | Naturens ædle dyrker 136, 152
The One and the Other | Den jenn å den anden 194
The one studies Latin and Greek until late | Den jenn
ska studier bådde Græsk å Latin 194
The Realm of Dreams | I Drømmenes Land 222
The river that runs to perpetual sea | Der strømmer en
Flod mod det evige Hav 272
The Seraphim | Seraferne 7
The seraphim have rolled away celestial bodies | Det
har Seraferne: Seraferne har rullet bort de klare
Stjerner 7
The Song of the Guide | Vejviseren synger 218
The South I’m leaving | Og jeg vil drage fra Sydens
Blommer 239, 421
The Spider’s Song from ‘Aladdin’ | Edderkoppens Sang fra‘Aladdin’ melody a: 141, 148, melody b: 384
The strain is not too great | Det koster ej for megen
Strid 45
The stress of years could not jade our mind | Vi ﬁk ej
under Tidernes Tryk 155, 227, 323, 360
The tedious winter went its course | Den kedsom Vinter gik sin Gang 346
The Virgin Mary sat in hay | Maria sad paa Hø og Straa
68
The woodland birds wag their tails for you | I Skoven
vipper de Fugle smaa 33
The woods are dimly listening | Alt Skoven sig fordunkler 321
There is a hoary hovel just outside this our town | Der
er en gammel rønne 210
There is a scrub by the winding road | Der staar en
Purle ved Vejens Sving 36
There is a way from mortals hid forever | Der er en Vej,
som Verden ikke kender 43
There is an earthly prayer | Der er en Bøn paa Jorden
42
There once lived a man in Ribe town | Der boede en
Mand i Ribe By 109
There out of the fog looms my ancestors’ land | Der
dukker af Disen min Fædrenejord 107, 205, 344
There sat a ﬁsherman deep in thought | Der sad en
ﬁsker så tankefuld 131, 159

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 304

There’s a ﬂeet of ﬂoating islands | Som en rejselysten
Flaade 124, 177, 306, 342
This farmer was a callous bloke | Mi Håsbond wa en
piinwon Rad 195
This force which gave me my little song | Den Magtsom gav mig min lille Sang 415
This is the day that the Lord did create! | Denne er
Dagen, som Herren har gjort! 40
This is the revelation | Nu skal det åbenbares 181, 200
This we know that since the poison | Det vi véd, atsiden slangens gift 261
Thistle crop looks promising | Tidselhøsten tegner
godt 121
Though countless the ﬂowers | Utallige Blomster paa
Jorderig gro 84
Thoughts must be lit, then exceeded | Tanker skaltændes og skride 275
Thread has broken, wheel has stopped | Traaden brister, Rokken staar 378
THREE MOTETS OP. 55 | TRE MOTETTER op. 55 297-299
THREE SONGS FROM ADAM OEHLENSCHLÄGER’S PLAY
‘ALADDIN’ OP. 34 | TRE SANGE FRA ADAM OEHLENSCHLÄGERS SKUESPIL ’ALADDIN’ OP. 34 112-114
THREE SONGS FROM HOLGER DRACHMANN’S PLAY
‘SIR OLUF, HE RIDES – ’ | TRE SANGE FRA HOLGERDRACHMANNS DRAMA ‘HR. OLUF HAN RIDER – ’
17-19
To Asali | Til Asali 3, 318
To my Native Island | Til min Fødeø 331
To the Queen of my Heart | Til mit Hjertes Dronning 214
To the Schnapps in ‘Bel Canto’ | Til Snapsen i ‘Bel Canto’ 322
Tonight | I Aften 15
Tove’s Song | Toves Sang 34
Tread softly, my companion | Træd stille, min Veninde
12
TWENTY “FOLKELIGE” MELODIES | TYVE FOLKELIGE
MELODIER 125-144
Two larks in love have nested | Jeg ved en Lærkerede
182, 373
TWO SCHOOLSONGS | TO SKOLESANGE 295-296
TWO SONGS FROM ADAM OEHLENSCHLÄGER’S ‘MIDSUMMER EVE PLAY’ | TO SANGE FRA ADAM OEHLENSCHLÄGERS ‘SANCT HANSAFTENSPIL’ 288-289
TWO SONGS FROM ‘CANTATA FOR THE OPENING CEREMONY OF THE NATIONAL EXHIBITION IN AARHUS
1909’ | TO SANGE FRA ‘KANTATE VED AARHUS
LANDSUDSTILLINGS AABNINGS-HØJTIDELIGHED
1909’ 293-294
TWO SONGS FROM JEPPE AAKJÆR’S PLAY ‘THE WOLF’S
SON’ | TO SANGE FRA JEPPE AAKJÆRS SKUESPIL‘ULVENS SØN’ 36-37

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TWO SONGS FROM VALDEMAR RØRDAM’S ‘ CANTATA
FOR THE CENTENARY OF THE CHAMBER OF COMMERCE’ OP. 31 | TO SANGE FRA VALDEMAR RØRDAMS ‘KANTATE VED GROSSERER-SOCIETETETSHUNDREDAARSFEST’ OP. 31 110-111
TWO SPIRITUAL SONGS | TO AANDELIGE SANGE 115116
Unafraid whate’er my chances | Uforsagt, hvordan min
Lykke 82
Universal power | Himmelkraftens Herre 393
Vagrant | Husvild 25
Vibeke’s Song | Vibekes Sang 30
Vocalise-Étude | Vocalise-Étude 267
Voice of God above the ocean! | Herrens Røst var over
Vandet! 61
Wanna hit me | Ve’ du sla’ mej 377
Watchman, I beg you, please stop with your song |Vægter jeg beder, hold op med i Sang 379
We boys and girls we waken | Vi Børn, vi Børn, vi vaagner 230, 305, 325, 388
We dote on our ﬂowering native land | Vi elsker vort
blomstrende Fædreland 242, 253, 341
We free Nordic nation | Vi fri Folk fra Norden 365
We mention a name | Vi nævner et navn 202
We of Jutland | Vi Jyder 274
We, sons of the plains carry dreams in our minds | Vi
Sletternes Sønner har Drømme i Sind 32, 204
We sov’reign Nordic nation | Vi frie Folk fra Norden
418
We’re spinning now for Lizzy Lass | Nu spinder vi for
Dittemor 405
Well on the wane the passing year | Dybt hælder Aareti sin Gang 48
What happed to blooms that relished | Hvor blev den
Blomst, som fyldte 286
When babies whimper before the candle | Naar Smaabørn klynker ved Aftentide 187, 260, 376
When night it gushes from blackest sky | Når nat udvælder fra sorten sky 144, 158
When summer song is ﬁnished | Når somrens sang ersungen 134, 153, 368
When the Eagle would ﬂy to rule | Dengang Ørnen var
ﬂyveklar 119
When you take up the Master’s plough | Har Haand dulagt paa Herrens Plov 58

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Where we would ﬁght and sing | Dér, hvor vi stred ogsang 133, 154
Where’er your path may take you | Paa alle dine Veje
79
Wherefore do our eyes feel pleasure | Derfor kan vort
øje glædes 126, 151
Whistling wind and washing wave | Sus af Vind og
Bølgeslag 268
Who’s there behind the shelter | Hvem sidder der bagSkjærmen 22, 201
Why do you wail, complaining | Hvi vil du dig saá
klage 62
Wild the storm on blackened waters | Vildt gaar Storm
mod sorte Vande 117
Winds are so employable | Vinden er så føjelig 208
Wonder whatever I get to see | Undrer mig paa, hvad
jeg faar at se 406
Worldlings have so many sites | Verdens Børn har
mangt et Sted 85
Ye gallants bright, I rede ye right | I Knøse! tag, det
raader jeg 216
Yea, I shall love Thee, Thou my vigour | Dig vil jeg
elske, du min Styrke 46
Yea, take us, our mother | Ja, tag os, vor Moder 28, 304
You and I, everyone must qualify | Hver har sit, du har
dit 265, 411
You apple blossom ﬁne and white! | Du ﬁne hvideÆbleblomst! 11
You are, in truth, a curious pet | Du er, min Tro, en
underlig Pog 301
You gave us the ﬂowers that glistered to show us | Du
gav os de Blomster, som lyste imod os 340
You idle bay that stretches | Den dovne Fjord som
gynger 16
You suffer throughout an age of pain | Det bødes derfor i lange Aar 9, 317
You want to know the seasons | Har nogen Lyst at
kende 59
You will laugh at harm and famine | Du skal le adØdelæggelse 381
You’re gently rocked in blissful bed | Blidt vugges du i
Himmelseng 331
Zealand Singers | Sjølunds Sangere 311
Zither! Touched by this my prayer | Cithar! lad din Bøn
dig røre 112

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S O NG S

W I T HT E X TI N

AF O R E I G N

3. Grosse Freierschaaren zogen hin
zum Schlosse fort und fort,
freiten theils mit süssen Minen,
theils mit blumenzartem Wort.
Irmelein – Rose,
Irmelein – Sonn’,
Irmelein – Alles was herrlich.

The following list comprises original translations sanctioned or accepted by Nielsen and included in contemporary printed editions of his songs.
LIEDER VON J.P. JACOBSEN COMPONIRT VON CARL NIELSEN, OP. 4, 6 (Nos. 2, 4-6, 8-9)Translation by Wilh: Henzen
24

4. Doch sie jagte sie von hinnen,
denn ihr Herz war hart und kalt;
gestern war’s die schlechte Haltung,heut’ die Sprache die sie schalt.
Irmelein – Rose,
Irmelein – Sonn’,
Irmelein – Alles was herrlich.

Im Garten des Serails
Rose senket die Krone
schwer von Thau und Duft,
die Pinien schwanken so still und mattin weicher Luft.
Quellen entwallen von Silber schwerin trägem Lauf,
Minarete entragen zum Himmelszelt
im Glauben auf.
Der Halbmond gleitet so eben hinüber das eb’ne Blau,
und die Rose küsst er, der Liljenﬂor,alle die Blümlein
im Serailgarten,
im Serailgarten.

5

1. Hört, es war einmal ein König,viele Schätze nannt’ er sein.
Name was für’s Allerbeste,jeder wusst’ es, Irmelein,
Irmelein – Rose,
Irmelein – Sonn’,
Irmelein – Alles was herrlich.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 306„Und wenn der Tag all’ Sorg und Qual“
Und wenn der Tag all’ Sorg und Qual
hat ausgeweint in Thau,so öffnet Nacht den Himmelssaal
mit ew’gen Tiefsinns stummer Qual.
Und Ein bei Ein
und Zwei zu Zwei
gehn ferner Welten Genien hervor
aus tiefen Himmels dunklem Thor,
und hoch über ird’sche Freuden und Schmerzen,
in Händen haltend Sternenkerzen,
schreiten sie langsam über den Himmel.
Und wie sie ﬂiegen
und leidvoll gehen,wunderlich wiegen
bei Aethers kaltem Wehen
ﬂackernd hell sich die Kerzen der Sterne.

Irmelein Rose

2. Alle Ritterhelme zeigten
ihrer Farben muntre Pracht,
und mit jedem Reim und Rhythmus
war ihr Name schön bedacht:
Irmelein – Rose,
Irmelein – Sonn’,
Irmelein – Alles was herrlich.

L A NG UAG E

6Genrebild
Hoch vom Thurm der Page sieht
weit in alle Lande,bringt in Vers und Reim und Liedzarte Liebesbande.
Aber er kann nicht sich sammeln,kann nur stammeln,
immer stammeln nun von Sternen,

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nun von Rosen
ﬁndet keinen Reim auf Rosen, Rosen.
Setzet verzweifelt sein Horn an den Mund,
greift an sein Schwert im Zorne,
bläst sein Lieben über’m Berglaut aus seinem Horne.
8

LIEDER VON LUDVIG HOLSTEIN, OP. 10 (Nos. 11-16)
Translation by Eugen v. Enzberg
11 Apfelblüthen
1. Du feine weisse Apfelblüth’,wer gab dir diesen Lichtesschein?
Ach, ich bin Sonne’s Liebchen fein!
ach, Sonne’s Liebchen fein!

„Seid’ner Schuh über Leisten von Gold!“
Seid’ner Schuh über Leisten von Gold!
Eine Jungfrau freit ich hold!
Freite mir ein’ schöne Jungfrau hold!
Ihres Gleichen kennt hier auf Erden kein Ort,
nein! sie ist einzig und ein!
Wie Himmel im Süd’ und wie Schneeglanz im
Nord
ist sie rein.
Aber in Erd’wonne blüht dieser Himmel
und Flammengluth schlägt aus dem Schnee.
Keines Sommers Rose hat röth’ren Schein,
als ihr Auge ist schwarz.

9

2. Wem dankst du diese Purpurgluth
dir ﬂammend auf der feinen Haut?
Ach, ich bin Sonne’s Frühlingsbraut!
ach, Sonne’s Frühlingsbraut!
3. Gesegnet von des Bräut’gam Kuss
ich leb im Hauch von seinem Mund’ne kurz’ glücksel’ge Frühlingsstund.
4. Und wann sein letzter warmer Kuss
im Abendrothe streifet mich,da ﬂüstre ich: Ich liebe dich!

„Dafür wird gebüsst“
5. Und schliesse mich und beuge mich
und weithin über’s Gras ich breit
den weissen Flor, mein Hochzeitskleid.
Ich bin Sonne’s Liebchen fein!
ach, Sonne’s Frühlingsbraut!

1. Dafür wird gebüsst wohl Jahre lang
was kaum uns noch Lust will scheinen,
und was wir in ﬂüchtiger Stund erlacht
nie können hinweg wir es weinen.
Es rinnet Qual, rinnet Weh’ von rothen Rosen.

12 An Erinnerungsee’s Strand
2. Das dreht sich auf goldnem Glückes Rad
so schnell, das wir nicht gewahren;
doch knechtisch drückende Sorge harrt
wenn nicht mehr wir fahren.
Es rinnet Qual, rinnet Weh’ von rothen Rosen.

1. Tritt näher meine Freundin, ich weiss dein Herze
weinet,wenn stille wir betreten Erinn’rungsees Strand!
Doch ziehet es beständig zum stillen Ort uns Beide,
wo Sorge und wo Freude verknüpft ein zartes Band.
Auf See’s Wassern schwebet die Hand, draus alles
ﬂiesset,und lautlos sie sich schliesset; und schlummerd
dorten sichnun müst’sche Offenbarung von Dunkelheit sichneiget,die traumeschön sich zeiget in fern’ Melancholi!

3. Es lebt, wie im Traum, in Freuden sich,der Trauer sind Träum’ verloren:
mit wachen Augen sie schaut auf Dich
Augen die saugen und bohren.
Es rinnet Qual, rinnet Weh’ von rothen Rosen.
4. Kein Lächeln wird leuchten, wenn krank Du bist,
dann weint nur das Weh’ lange Stunden,
weil Lächeln Abglanz von dem, was ist,
Weh’ Schatten von dem, was entschwunden.
Es rinnet Qual, rinnet Weh’ von rothen Rosen.

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2. An dieser trauten Stätte, wo aller Lust undJammer307

22/02/09 8:31:31

verstummt in Grabes Kammer in tausendjähr’ger
Nacht,
hat Sehers Seel geschauet, geahnet was sie decket,
und sie vom Schlaf erwecket befreit der Künste
Schatz.
Hier wandeln unsre Todten und stummen Grusssie wehen,den nimmer wir vestehen, von Schattenlandes
Küst’.
O Freundin, lass uns weilen am Strande.
Uns beglücke nur wen’ge Augenblicke sein
wehmuthsvoller Trost.

14 Sang hinterm Pﬂug
1. Geh hinterm Pﬂug im Sonnenschein,
zum grünen Wald ich nick’ hinein,
wo du mein Glück verbirgest dich;mein Herze lacht, verbergend sich,verbergend all Glückseligkeit
bis Sonn sich neigt,
bis Sonn sich neigt.
2. Mein Glück ist neu und jung zu schaun
wie Lerchensang beim Morgengraun.
Jed’ Abendstund es schmücket sich.
Doch du für mich nur schmückest dichund nächtliche Glückseligkeit
ist Tages güldne Heimlichkeit.

13 Sommerlied
1. Reich an Blüthen lodert Apfelbaum im Hain,
wieder blaut der Himmel tief und warm und rein!
Auf der Felder Blumen sinkt der Hummel nieder
summend honigschwer.
Sommer ist gekommen!
Wanderst du mir wieder
träumerisch umher?
2. Sanfte Blüthendüfte rings auf Hald und Hang.
Kukuksruf vom Walde hallet Tage lang.
Hörtest du erschallen an den klaren Quellen,
klingend durch Gebüsch
Sang der Nachtigallen,
langer Triller Wellen
durch die lichte Nacht.

3. Ich pﬂüge nun die Erde hold,doch Keiner sieht das güldne Gold,das mir im Herz’ verbirget sich,verbergend mich, verberg ich dich,verberg ich all Glückseligkeit
bis Sonn sich neigt,
bis Sonn sich neigt!
15 Heut Abend
1. Das güldenweisse Himmelslicht,
das schwarze Wälder säumen,
und rings in Gartens Gängen stehn
die Bäume stumm und träumen.
Der Thau er fällt so kühl und mild
und feuchtet Stirn und Wangen.
Heut Abend drängt es dich mein’ Seel’,am Strand des Tods zu bangen.

3. Westens Brise brauset durch das Ährenfeld,
ﬂachen Landes Wogen reichlich sind bestellt.
Himmels milder Regen lässt die güldnen Früchte
reifen fern und nah.
Blüthenstaub entgegenduftet dir im Lichte
über’s Kornfeld da!

2. Heut Abend drängt es dich mein’ Seel’,könnst du auf deinen Schwingen
auf weichem, pfeilgeschwindem Paarzum Meer des Lichtes dringen.
Und schwinden hin in stillem Licht
und güldnem Fried’ da drinnen
und sterben dort, befreietvon dem Träumen und dem Sinnen.

4. Ach, so ward es Sommer! sehnend nun hinan
Schönheitsträume steigen auf zur Himmels-Bahn,
schwanenweiss umsäumet von dem Gold derSonnenund das Dunkel weicht.
Rings die Erde träumet
von des Glückes Bronnen,
den sie nie erreicht!

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22/02/09 8:31:32

4. Nimm hin mein glühend Herze,dein sei es immerdar,
lass sichs zu Tode brennen
in Flammen frei und klar.

16 Gruss
1. Der träge Fjord sich schaukelt,
sich reckt im Sonnenbrande,
und schlanke weisse Möwen
die tauchen sich darin.
Fahrwohl du kleiner Dampfer
der eilet mir vorbei,
und grüss die blonde Damedie harret dein am Strande.

Helge Rode
21 Der Adler
1. Du stolzer Adler im blauen Duft,dir klinge mein Gruss entgegen!
Du stürmest kühn in die Himmelsluft,
dein Flug ist wild und verwegen.
Du sausest nieder in wilder Lust,
es glüht der Augen Schimmer.
Du schlägst deine Krallen in Feindes Brust,
entﬂiehen kann er dir nimmer.

2. Und sag, dass ihre Augen,
die Sehnsucht nun umsäumen,
verfolgen mich beständig.
Und was sie wünschen frag;Bericht mir ob sie weinet
wenn’s Schiff zur Mole legt!
Und sage dass ich küsse sie
oft in meinen Träumen.
3. Fahrwohl du kleiner Dampfer,
der eilet mir vorbei
und grüss die blonde Damedie harret dein am Strande!
Und sag dass ihre Augen
verfolgen mich beständig.
Sage dass ich küsse sie
oft in meinen Träumen.

2. Du bist ein Räuber, dem keiner gleich,
mit blutbeﬂecktem Geﬁeder,
zur watschelden Ente auf schlammigem Teich,blickst du mit Verachtung hernieder.
Wie liebe ich, Aar, deinen trotzigen Mut,der kühn dich aufwärts lässt dringen,in deinem Auge die stolze Glut,den Sonnenglanz auf den Schwingen!
Jeppe Aakjær
22 Der alte Steinklopfer
1. Wer sitz dort bei den Steinen
gebeugt am Strassenrand?
Die Brille vor den Augen,
die Binde um die Hand.
Das ist gewiss Jens Veimand,
der dort in bittrer Not
mit seinem Hammer wandelt,den harten Stein zu Brot.

STROFISCHE GESÄNGE, OP. 21 (Nos. 20-26)
Translation by C. Rocholl
20 „Soll denn die Blumen welken“
1. Soll denn die Blumen welken
befor sie aufgeblüht?
Soll denn die Flamme sterben
eh sie noch ausgeglüht?

2. Erwachst du früh am Morgen,
wenn kaum noch graut der Tag
und hörst des Hammers Klingen
im Takte, Schlag auf Schlag,
das ist gewiss Jens Veimand,
der dort am Strassenrain,
schlägt mit dem Hammer Funken
aus taubenetztem Stein.

2. Purpur und goldne Fäden
webt Gott ins Leben ein,sie leuchten draus entgegenals Liebesglück und Pein.
3. Nimm meine Hände beide
in deine, mild und hold,fühl wie mein Blut als Feuer
durch meine Adern rollt.

Carl Nielsen Udgaven CN 00051

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3. Fährst heimwärts du am Abend
auf glatter, ebner Bahn,
und siehst du einen Alten,
der traurig dich blickt an,das ist gewiss Jens Veimand,
der frostgequält und matt,noch nicht den Weg darf suchen
zu seiner Ruhestatt.

3. Schlaf wie ein Kindlein im Armeweich seiner Mutter gewiegt,
halb nur dem Traum entrücket,
lächelnd an sie sich schmiegt.
Johannes Jørgensen
24 „Die erste Lerche, die erste Lerche!“
1. „Die erste Lerche, die erste Lerche!“O, grüsst mit Jauchzen den Jubelsang!
Die erste Lerche, die erste Leche!
Froh lauscht der Kranke dem holden Klang.

4. Und schaust du dann zurücke
indess ins Anlitz bläst
mit seinem scharfen Haucheein Wind dir aus Nordwest, –der dir ganz nah zum Ohreden Klang des Hammers trägt, –so ists gewiss Jens Veimand,
der sitzt und Steine schlägt.

2. Die erste Lerche, die erste Lerche!
die Lenzesbotin im Sonnenstrahl!
Die erste Lerche liegt – auf dem Bergeauch Schnee noch – bald blühn die Rosen im Tal!
Jeppe Aakjær

5. Für andre hielt sein Hammer
die Strasse gut im Stand,doch einst am Weinachtsabend,
entﬁel er seiner Hand.
Es ist gewiss Jens Veimand,dess Hammer nicht mehr klingt,
den man auf öder Haide
zur ewgen Ruhe bringt.

25 „Geht Obdach zwei armen Leuten“
1. Geht Obdach zwei armen Leuten,
so müd, so matt und so träg,
wir kommen von „Tausend-meile-weit“,
nach „Ferne“ geht unser Weg. Geht Obdach!
2. Dort, wo wir beide geboren,
gehn die Gänse barfuss im Gras, –es stehn in dem schnurrigen Städtlein,alle Häuser nachts auf der Strass. Geht Obdach!

6. Dort auf dem Gottesacker
dein Blick ein Holzkreuz trifft;
im Boden halb versunken,
verwischt ist längst die Schrift.
Dort ruht gewiss Jens Veimand.
Das Leben gab allein,
ihm Steine – und nun schmücket
im Tod sein Grab kein Stein.

3. Mein Hof in „Taused-meile-weit“
ist schön, es ist eine Pracht,
er ist gebaut aus Luft und Wind,
sein Dach ist aus Regen gemacht. Geht Obdach!

Jeppe Aakjær
4. Und glaubt ihr nicht meinen Worten,so fragt meine Tochter darum,
die ist ohne Eltern geboren,
ist ausserdem taub und stumm. Geht Obdach!

23 „Senke dein Köpfchen, du Blume“
1. Senke dein Köpfchen, du Blume,
tief in die Blätter so sacht,
schliesse dein Aug’ und harre
seligen Friedens der Nacht.

Johannes V. Jensen
26 Gute Nacht
1. Du schnöde Welt, fahr hin! –Gar müd und matt ich bin.
Nun könnet ihr schelten und ﬂehen,
ich will jetzt schlafen gehen.

2. Schlummre, bald senket sich nieder
leise die wonnige Stund’,schlaf unter goldnen Sternen,
schlafe dich froh und gesund.

Carl Nielsen Udgaven CN 00051

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so traulich und so hold!
Als eine stille Kammer,
wo Ihr des Tages Jammer
verschlafen und vergessen sollt.

Im Graben hab verbracht
ich schon so gar manche Nacht,
hab dort im Traum gesehenden Himmel offen stehen.

Matthias Claudius
2. Zur Ruhe nun gehe ich ein
im eigenen Kämmerlein klein,sechs Bretter in kühler Erden,
die schützen vor Leid und Beschwerden.
Nun sag ich euch allen ade,
Nichts tut mir der Abschied weh,auch euer Leid wird nicht gross sein,
ihr werdet auch mich gern los sein.

393 Hymnus an das Leben
Translation by Heinz Hungerland
1. Himmelskraftbeherrscher, grosser Sonnenzeuger,
Leben träuft urewig deiner Lohen Gral.
Hohe Schöpferallmacht, aller Willen Beuger,
Zünde uns im Staube ew’ger Hoffnung Strahl!
2. Tief aus Dunkel leuchten Mütterurgedanken,
Golden fällt ein Regen deiner Sternsaat hehr.
Werdewunder selbst aus Todesqual sich ranken.
Woge zeugt aus Woge stets der Zeiten Meer.

3. Für Prügel in eurer Schuld
bin ich, doch habt Geduld:
Ihr werdet, was ich empfangen,durch Andere wieder erlangen.
Ich aber will schlafen und ruhn, –im eignen Kämmerlein nun,sechs Bretter in kühler Erden,
die schützen vor Leid und Beschwerden.

3. Du, der Liebe Urborn, mächtiger Erneuer,
Leben-Tod ist eins nur, gleicher Wogenschlag.
Hinter allen Wolken, heiliger Befeurer,
Flammt Dein göttlich hoher, ew’ger Sonnentag.

4. Die Geige lege ich hin,zu müd zum Spiel ich bin;wer meinet er hätt’ zu viel Sorgen,
der soll sich nur mein Glück borgen.
Zu End ist nun meine Bahn, –mein Bestes hab ich getan,
und freu’n euch nicht meine Lieder,
ihr höret nimmer sie wieder.
Johannes V. Jensen

4. Strahl gebiert den Strahl, und Fackel zündet
Fackel –Tod – das ist nur Schatten, der zur Rüste geht;
Ewig blüht des Lebens tönendes Mirakel –Aus dem All der Duft des heil’gen Frühlings weht.
Sophus Michaëlis
422 Carmen Vernale
In vernalis temporis
ortu lætabundo,
dum recessum frigoris
nuntiat hirundo;terræ, maris, nemoris
decus arridet foris
renovato mundo,
renovato mundo;
vigor redit corporis,
cedit dolor pectoris
tempore jucondo.

321 Abendstimmung
1. Der Mond ist aufgegangen,die gold’nen Sternlein prangen
am Himmel hell und klar,
am Himmel hell und klar;
der Wald steht schwarz und schweiget
und aus den Wiesen steiget
der weisse Nebel wunderbar.
2. Wie ist die Welt so stille,
und in der Dämm’rung Hülle
so traulich und so hold,Carl Nielsen Udgaven CN 00051

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Morten Børup

311

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CNU_III_7_indmad.indb 312

22/02/09 8:31:32

C R I T I C A L
C O M M E N T A R YS O U R C E S

Partly autograph.
Dating: “Ryslinge den 10 Juli 09.”

M A N U S C R I P T( D K - K k ,S O U R C E S

C N S )

Recto: fair copy, autograph (unison song) of Nos. 155,
227, 323, 360; text added below system (foreign hand).
Verso: concert programme [?] written in pencil (for-➤ refers to a different source containing the present

eign hand).

sourceSA, SSA, SSAA: vocal parts in movements notated

MS 32 3013

with treble clefs[No. 210 Der er en gammel rønne her udenfor vor by]voice, pf.: vocal part with piano accompaniment.

DK-Kk, CNS 105a.

pf.: piano score with or without text

Donated to The Royal Library by Povl Aagaard in 1991.

unison song: unison song without piano accompani-

17.7x27.1 cm, 1 folio, trimmed, written in ink, verso

ment

blank.
Paper type: 12 staves.
Autograph.
oMS 32 3011

Fair copy (pf.) of No. 210 with heading “N 659.”,[No. 199 Danevang med grønne bred]stanza 1 between staves.

DK-Kk, CNS 86a.
Donated to The Royal Library by Povl Aagaard in 1991.

MS 32 3014

13x26 cm, 1 folio, trimmed, written in ink, verso blank.

[No. 210 Der er en gammel rønne her udenfor vor by]

Paper type: 4 staves (hand-ruled).

DK-Kk, CNS 105b.

Autograph.

Donated to The Royal Library by Irmelin Eggert Møl-

Fair copy (pf.) of No. 199, stanza 1 above system.

ler in 1958.
34.5x25.5 cm, 1 folio written in ink, verso blank.

MS 32 3012

Paper type: 12 staves.

[No. 155 De unges sang (Vi ﬁk ej under tidernes tryk),

Manuscript copy.

No. 227 De unges Sang (Vi ﬁk ej under Tidernes Tryk),

Printing manuscript (pf.) for No. 210 with heading

No. 323 De unges Sang (Vi ﬁk ej under Tidernes Tryk),“N 659.”, stanza 1 above system, at top left cornerNo. 360 Vi ﬁk ej under Tidernes Tryk]“74” added in blue crayon, compositor’s markings

DK-Kk, CNS 90c.

added in pencil.

oDonated to The Royal Library by Povl Aagaard in 1991.
20.4x25.8 cm, 1 folio, trimmed, recto written in ink,

MS 32 3015

verso written in pencil.

[No. 126 Derfor kan vort Øje glædes]Paper type: 7 staves (hand-ruled).

DK-Kk, CNS 108a.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 313

313

22/02/09 8:31:33

Donated to The Royal Library by Povl Aagaard in 1969.

text in ink (autograph?); “ved Knud Malmstrøm”

17x26 cm, 1 folio, trimmed, written in ink, verso blank.

added in pencil at the top.

Paper type: 6 staves (hand-ruled).
Autograph.

MS 32 3019

Fair copy (voice, pf.) of No. 126, stanza 1 below voice,[No. 206 Kan I mærke, det lysner af solskin i sindet]above top staff “a d 68” added in pencil (foreign hand).

DK-Kk, CNS 179a.
Donated to The Royal Library by Povl Aagaard in 1991.

MS 32 3016

8x23.5 cm, 1 folio, trimmed, written in ink, verso blank.

[No. 96 Farvel, min velsignede Fødeby!]

Paper type: 4 staves.

DK-Kk, CNS 122.

Autograph.

Donated to The Royal Library by Irmelin Eggert Møller

Fair copy (pf.) of No. 206 with heading “N 526”, 1

in 1958.

stanza between staves, a hole in the middle of the

35x26 cm, 1 folio written in ink, verso blank.

manuscript apparently caused by ﬁre.

oPaper type: 12 staves (hand-ruled).
Manuscript copy.

MS 32 3020

Manuscript copy (voice, pf.) of No. 96 with heading[No. 206 Kan I mærke, det lysner af solskin i sindet]“XIV.”, 7 stanzas below voice, at top left corner “1”DK-Kk, CNS 179b.

added in blue crayon and “Madsen” added in pencil.

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 32 3017

12.2x25.3 cm, 1 folio, trimmed, written in ink, verso[No. 150 Jeg så kun tilbage, mig livets lyst bortklang]blank.

DK-Kk, CNS 172a.

Paper type: 4 staves.

Donated to The Royal Library by Povl Aagaard in 1991.

Manuscript copy.

9.5x35 cm, 1 folio, trimmed, written in ink, verso blank.

Printing manuscript (pf.) for No. 206 with heading

Paper type: 5 staves (hand-ruled).

“N 526”, stanza 1 above system, at top left corner

Autograph.

“41” added in blue crayon, compositor’s markings

Fair copy (pf.) of No. 150 with heading “Jeg ser kun

added in pencil.

otilbage”, stanza 1 above system.
MS 32 3021
MS 32 3018

[No. 209 Mit hjem, hvor mine fædres fjed][No. 248 Julesang (Kom, Jul, til Jord, kom høje Gæst)]DK-Kk, CNS 191a.

DK-Kk, CNS 178a.

Donated to The Royal Library by Povl Aagaard in 1991.

Donated to The Royal Library by Irmelin Eggert Møller

16.5x27.2 cm, 1 folio, trimmed, written in ink, verso

in 1958.

blank.

15.2x26 cm, 1 folio, trimmed, written in ink, verso

Paper type: Nr. 9. Folio 24. (12 staves).

blank.

Autograph.

Paper type: 6 staves.

Fair copy (pf.) of No. 209 with heading “N 655”,

Manuscript copy.

stanza 1 between staves.

oDating: “18/10-1923”.
Manuscript copy (pf.) of No. 248 with heading “Jule-MS 32 3022

sang”, stanza 1 between staves. Includes a piece of[No. 90 Hjemvee (Underlige Aftenlufte!), No. 91 Naar

writing paper (23.5x21.5 cm) with Johannes Wiberg’s

Odin vinker, No. 93 Vor Verden priser jeg tusindfold,

Carl Nielsen Udgaven CN 00051

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22/02/09 8:31:33

No. 94 Rosen blusser alt i Danas Have, No. 97 Jeg bærer

12x25.5 cm, 1 folio, trimmed, written in ink, verso

med Smil min Byrde, No. 98 Nu er Dagen fuld af Sang]

blank.

DK-Kk, CNS 196d.

Paper type: 4 staves.

Donated to The Royal Library by Irmelin Eggert Møl-

Manuscript copy.

ler in 1958.

Printing manuscript (pf.) for No. 211 with heading

25.8x17.5 cm, 1 folio written in ink, verso blank.

“N 679.”, stanza 1 above system, above top system

Paper type: 12 staves (hand-ruled).

“83” added in blue crayon, compositor’s markings

Title on ﬁrst music page: “Forslag til C.N.”

1oadded in pencil.

Thomas Laub’s proposals for changes in Nielsen’ssongs Nos. 90, 91, 93, 94, 97 and 98.

MS 32 3026
[No. 8 Silkesko over gylden Læst!, No. 10 Vise af

MS 32 3023

‘Mogens’ (Havde jeg, o havde jeg en Dattersøn, o ja)][No. 172 Nu lyser løv i lunde]

DK-Kk, CNS 227a.

DK-Kk, CNS 197a.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Povl Aagaard in 1969.

ler in 1958.

16.9x26 cm, 1 folio, trimmed, recto written in ink,

34.3x26.9 cm, 1 bifolio written in ink.

verso written in ink and pencil.

Paper type: Beethoven Papier No.11 / H.R.Kr. (12Paper type: 6 staves.

staves).

Autograph.

Manuscript copy.

Recto: fair copy (pf.) of No. 172, stanza 1 betweenoOn fol. 1: manuscript copy (voice, pf.) of No. 8 withstaves, heading “N 607” and “Carl Nielsen” added intitle “‘Silkesko over gylden Læst’ / Helga Weeke”.

pencil (CN?).

On fol. 2: manuscript copy (voice, pf.) of No. 10 with

Verso: sketch (unison song) for No. 172 written in ink

title “Vise af ‘Mogens’”.

with text fragments; sketch (pf.) for No. 172 written

Few additions and corrections in pencil.

in pencil.
MS 32 3027
MS 32 3024

[No. 185 Spurven sidder stum bag Kvist][No. 211 Om strømmen mod dig bruser]

DK-Kk, CNS 240a.

DK-Kk, CNS 214a.

Donated to The Royal Library by Thorvald Balslev inDonated to The Royal Library by Povl Aagaard in 1991.

1953.

8.5x24 cm, 1 folio, trimmed, written in ink, verso blank.

24x34.5 cm, 1 folio, trimmed, written in ink, verso

Paper type: 5 staves.

blank.

Autograph.

Paper type: 11 staves (hand-ruled?).
oFair copy (pf.) of No. 211 with heading “N 679.”,

Manuscript copy.

stanza 1 between staves.

Manuscript copy (voice, pf.) of No. 185 with heading“Spurven sidder stum bag Kvist”, stanza 1 below

MS 32 3025

voice, 3 stanzas written below ﬁnal system.

[No. 211 Om strømmen mod dig bruser]
DK-Kk, CNS 214b.

MS 32 3028

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 161 Steen Steensen Blicher (Hedelærken, den

ler in 1958.

liden fugl]
DK-Kk, CNS 241a.
1 “Proposals for Carl Nielsen”.

Carl Nielsen Udgaven CN 00051

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315

22/02/09 8:31:34

oDonated to The Royal Library by Povl Aagaard in 1991.

Fair copy (pf.) of No. 208 with heading “N 626.”,

10x35.2 cm, 1 folio, trimmed, written in ink, verso

stanza 1 between staves.

blank.
Paper type: 8 staves.

MS 32 3032

Autograph.

[No. 208 Vinden er så føjelig]

Title on ﬁrst music page: “Hedelærken”.

DK-Kk, CNS 268b.

Fair copy (pf.) of No. 161, stanza 1 above system.

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 32 3029

22.2x27.1 cm, 1 folio, trimmed, written in ink, verso[No. 423 Velkommen Lærkelil]

written in pencil.

DK-Kk, CNS 262a.

Paper type: 8 staves.

Donated to The Royal Library by Irmelin Eggert Møller

Manuscript copy.

in 1958.

Recto: printing manuscript (pf.) for No. 208 with

26x17.8 cm, 1 bifolio written in ink and pencil, fol. 2voheading “N 626.”, stanza 1 above system, at top left

blank.

corner “58” added in blue crayon, compositor’s mark-Paper type: 10 staves.

ings added in pencil.

Manuscript copy.

Verso: at top left corner “N 626. C.N.” added in pen-

Title page: “Velkommen Lærkelil” in pencil (Irmelincil (CN?), in right margin “626” added in pencil (CN).

oEggert Møller).
On fol. 1: verso: manuscript copy (unison song on 1

MS 32 3033

staff) of No. 423.

[No. 207 Frydeligt med jubelkor]

On fol. 2: recto: 2 stanzas of No. 423.

DK-Kk, CNS 293b.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 32 3030

ler in 1958.

[No. 202 Vi nævner et navn]

34x27.1 cm, 1 folio written in ink, verso blank.

DK-Kk, CNS 266a.

Paper type: 12 staves (hand-ruled?).

Donated to The Royal Library by Irmelin Eggert Møller

Manuscript copy.

in 1958.

Printing manuscript (pf.) for No. 207, stanza 1 above

17x27 cm, 1 folio, trimmed, written in ink, verso blank.

system, at top left corner heading “623” added in pencil

Paper type: Nr. 3 F. 12. (6 staves).

(foreign hand) and “56” added in blue crayon (foreign

Manuscript copy.

hand), below ﬁnal system “Copyright 1924 by Wilhelm

Printing manuscript (pf.) for No. 202 with heading “418.”,

Hansen Copenhagen.” added in ink (foreign hand).

stanza 1 above system, at top left corner “23” added inblue crayon, compositor’s marking added in pencil.

MS 32 3034
[No. 302 Serenade (Gerne vi lytter, naar Strængene

MS 32 3031

bringer)][No. 208 Vinden er så føjelig]

DK-Kk, CNS 303a.

DK-Kk, CNS 268a.

Donated to The Royal Library by Torben Schousboe

Donated to The Royal Library by Povl Aagaard in 1991.

in 1990.

14x25 cm, 1 folio, trimmed, written in ink, verso blank.

29.7x21 cm, 1 bifolio written in ink, fols. 1 , 2 blank.

Paper type: 9 staves.

Paper type: 12 staves.

Autograph.

Photocopy of manuscript copy by Torben Schousboe.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 316

r

v

316

22/02/09 8:31:34

Title on ﬁrst music page: “SERENADE”.

For a complete description of the manuscript, see

Dating: “oktober 1983.”

CNU II/3, p. 189.

Manuscript copy (vocal score, SATB on 4 staves) of No.
302, above top staff “Tekst af Hother Ploug (8.2.1907).
2

MS 32 3049

/ Musik af Carl Nielsen (9.2.1907).” and “Forfattet[No. 252 Lad en og anden have Ret]og komponeret som hyldest til Fru Ville Heise’s

DK-Kk, CNS 182c.

fødselsdag den 8-2-1907, og uropført ved en korsam3

Donated to The Royal Library by Flemming Preuss,menkomst hos fru Heise mandag den 11.2.1907.”, at

Uffe Preuss, Grethe Sengeløv and Bent Ulrich Jensen

ﬁnal system in right margin “Manuskript-korstem-(grand children of the violist Anton Bloch) in 1993.

mer i privateje. Tekstblad i Carl Nielsen Arkivet, Det

35x26 cm, 1 folio written in ink and pencil, verso blank.

kongelige Bibliotek. Partitur redigeret og skrevet af

Paper type: 12 staves (hand-ruled).

4

Torben Schousboe, oktober 1983.”

The source has been restored.
Autograph.

MS 32 3039

Dating: “15-II-24”.

[No. 14 Sang bag Ploven (I Solen gaar jeg bag min Plov)]

Fair copy (pf.) of No. 252 with heading “Lad en og➤ Snefrid.

anden have Ret”, stanza 1 between staves, changes in

DK-Kk, CNS 331d.

pencil (CN?).

34.5x25.7 cm, 1 folio written in pencil.

After the ﬁnal bar the following note to the recipient

Paper type: 12 staves (hand-ruled).

of the manuscript is added: “Kære Bloch! Det varede

Autograph.

jo lidt længe inden jeg holdt mit Løfte til Dig, men

On ﬁnal page of va.: sketch without text for No. 14,
bb. +1-13, in E major.

her har du altsaa Melodien. Der skal mange Gange

For a complete description of the manuscript, seeendelig er der, er Sagen jo ikke noget at tale om men

CNU I/6, p. 295.

kun Minutters Arbejde. Mange Hilsener fra Din gam-Held til at træffe saadan en jævn Tone, men naar den

6

le Kammerat Carl Nielsen”.
MS 32 3048
[No. 293 Skummende laa Havet]

MS 32 3050

➤ Symphony No. 3, Sinfonia Espansiva, Op. 27.

[No. 292 Den Spillemand spiller paa Strenge]

DK-Kk, CNS 64e.

DK-Kk, CNS 29b.

35.4x27 cm, 2 pages written in pencil and ink.

Donated to The Royal Library by Irmelin Eggert Møl-

In orchestral part, vl. 1 No. 9:

ler in 1958.

v

on fol. 11 : draft without text (pf.?) written in pencil

Photocopy of autograph.

for No. 293;

Dating: “1931”.

v

on fol. 12 : incomplete draft without text (pf.?) writ5

ten in ink for No. 293 with heading “(I A. Dur)”.

Fair copy (recorders 1, 2) of instrumental piece withheading “To Blokﬂøjter”; fair copy (vl. 1, 2, 3) of No.
292, 3 stanzas below vl. 1.

2 “Text by Hother Ploug (8.2.1907). / Music by Carl
Nielsen (9.2.1907).”
3 “Written and composed as a tribute to Mrs. Ville
Heise on her birthday 8-2-1907, and premiered
at a choral gathering in Mrs. Heise’s house on
11.2.1907.”
4 “Manuscript choral parts in private ownership;a page with the text in Carl Nielsen Archives.
Fair copy of the score by Torben Schousboe,
dated October 1983.”
5 “In A major”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 317

6 “Dear Bloch! I know it’s taken some time forme to keep my promise to you, but here, at last,is the song. Often you need luck to get sucha simple tone right, but when in the end it isthere, it is no big deal but only a question of afew minutes’ work. Best wishes from your old
friend Carl Nielsen”.

317

22/02/09 8:31:34

MS 32 3051

som endnu ikke er trykt. Deres hengivne Carl Niel-[No. 394 Der er et yndigt Land]sen” added in ink (CN).

8

DK-Km(m)Photocopy: DK-Kk, CNS 289m.

MS 32 3056

Photocopy donated to The Royal Library by Musik-[No. 248 Julesang (Kom Jul, til Jord, kom høje Gæst)]historisk Museum Carl Claudius’ Samling in 1993.

DK-Kk, CNS 178c.

1 folio written in pencil?

Acquired by The Royal Library from the Wilhelm

Paper type: 16 staves (hand-ruled).

Hansen Archives in 1997.

Autograph.

1:

Dating: 20/6 24.

20.2x26.8 cm, 1 folio, trimmed, written in ink andFair copy without text (vocal score, SSAA) of No. 394

pencil, verso blank.

with heading “Der er et yndigt Land”, added inPaper type: 7 staves (hand-ruled).

ink “20/6 24 Frederiksholms Kanal 28 A Kære Hr.

Autograph.

Siboni! Deres venlige Ord har foranlediget mig til at

Dated: “18-10-23”.

udsætte Mel. paa en ny Maade[.] De ser, at Takterne

Printing manuscript (pf.) for No. 248 with headingte1.3.7.9.10.11 og sidste Akkord i 5 Takt er anderledes“Julesang.”, stanza 1 between staves; compositor’s

end i bl. Kor-Udgaven; men de ﬁre lige Stemmer ermarkings added in pencil.

et andet Materiale, og jeg tror nok det vil klinge or-2:

dentlig paa denne Maade. Vil De engang gøre mig en

34.5x26 cm, 1 bifolio written in ink and pencil, fols.

Afskrift af denne Udsættelse vil jeg meget gerne have

1 , 2 blank.

den, da jeg har liden Tid til selv at gøre den.

Paper type: 12 staves (hand-ruled).

7

Hilsen fra Deres Carl Nielsen.”vv

Manuscript copy.
r

On fol. 1 :MS 32 3052

Title page: “Julesang. / Tekst af / Johs. Wiberg. / Sat i[No. 180 Hvad synger du om så højt i det blå?]Musik af / Carl Nielsen.” At bottom of page “18.439”,

DK-Km(m)“Peters Form [illegible]”, “Organist Malmstrøm

Photocopy: DK-Kk, CNS 152c.

Fælledvej 27” added in pencil.

19.5x21 cm, 1 folio, trimmed, written in ink, verso

On fol. 2 :blank.

Printing manuscript (voice, pf.) of No. 248 with

Paper type: 8 staves.

heading “Julesang.”, stanzas 1-3 below voice; at bot-

Autograph.

tom of page added in pencil “Copyright 1923 by WH

Dating: “Kjøbenhavn 26-12-22.”

Copenhagen”.

r

Fair copy (pf.) of No. 180, stanza 1 between staves,
above system “Kære Hr Claudius! Med Ønsket om et

MS 32 3060glædeligt Nytaar sender jeg Dem denne lille Melodi[No. 17 Hellelidens Sang (Helleliden aksler sin Kofte
graa)]

7 “20/6 24 Frederiksholms Kanal 28 A Dear Mr.
Siboni! Your kind words have made me arrange
the song in a new way. As you may see, bb. 1,
3, 7, 9, 10, 11 and the ﬁnal chord of b. 5 aredifferent from the version for mixed voices; but
four equal voices are a different matter, and I do
think it will sound properly this way. If you evermake a copy of this version I would be happy tohave it, because I have very little time to do it
myself. Best wishes Carl Nielsen”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 318

DK-Kk, CNS 342l.
Acquired by The Royal Library from the Wilhelm
Hansen Archives in 1997.
8 “Dear Mr. Claudius! Wishing you a happy New
Year I send this little song to you, which has not
yet been printed. Sincerely yours Carl Nielsen”.

318

22/02/09 8:31:34

34.5x26.8 cm, 1 folio, title page written in pencil,

with headings “III”, “IV”, “V”, “VI”, respectively, Nos.

music written in ink.

122, 123 with headings “VIII”, “IX”, respectively, No.

Paper type: 12 staves (hand-ruled).

120 with heading “XI”; autograph, fair copy of No.

Autograph.

124 with heading No. “XIII”, additions and changes

Title page: “‘Hr: Oluf han rider – ’”.

in pencil and ink (CN and foreign hands); 5 instru-

Fair copy (voice, pf.) of No. 17, bb. 1-6 with title “Imental pieces arranged for pf.

/ Hellelidens Sang.”, in several bars “Ped”, and “*”For a complete description of the manuscript, seeadded in pencil (see also MS 33 3039).

CNU I/9, pp. 279-280.

MS 32 3061

MS 32 3062

[No. 117 Vildt gaar Storm mod sorte Vande, No. 118[No. 306 Som en rejselysten Flaade]Min Pige er saa lys som Rav, No. 119 Dengang Ørnen

DK-Kk, CNS 345o.

var ﬂyveklar, No. 120 Ved Festen ﬁk en Moder Bud,

Acquired by The Royal Library from Edition Wilhelm

No. 121 Tidselhøsten tegner godt, No. 122 Saa bittert

Hansen in 1997.

var mit Hjerte, No. 123 Dengang Døden var i Vente,

34.5x26 cm, 1 bifolio written in ink, fol. 2 blank.

No. 124 Som en rejselysten Flaade]Paper type: 12 staves (hand-ruled).

DK-Kk, CNS 345n.

Autograph.

Acquired by The Royal Library from Edition Wilhelm

Title page: “Sangen til Danmark / af / Helge Rode

Hansen in 1997.

Skuespil / ‘Moderen’ / komponeret for blandet Kor / af

35x27 cm, 1 gathering consisting of 1 bifolio includ-/ Carl Nielsen”.

ing 14 folios, bifolio unpaginated, 14 folios paginatedPrinting manuscript (vocal score, SATB on 2 staves)

1-28; written in ink and pencil; inserted by the pub-for No. 306, 4 stanzas between staves, compositor’slisher in brown paper covers.

markings added in ink and pencil.

vsPaper type: 12 staves.
Partly autograph.

MS 32 3063

Title page: “Carl Nielsen / Musik / til / Helge Rodes[No. 116 Udrundne er de gamle Dage, No. 125 På det

Skuespil / ‘Moderen’ / Op 41 / (Klarverudtog)”, abovejævne, på det jævne!, No. 126 Derfor kan vort øje

title “Forlag / 27/1 21” and “22” added in pencil

glædes, No. 127 Jeg så kun tilbage, mig livets lyst

(foreign hand), at bottom right corner “1. Hefte / Op-bortklang, No. 128 Morgendug, der sagte bæver iførelsesret forbeh / Copyright 1921 WH / paa alle 13den lune vind, No. 129 Jord, i hvis favn, No. 130 Den

Numre / 22 alm F” added in ink and pencil (foreign

store mester kommer!, No. 131 Der sad en ﬁsker saa

hand), “Copyright 1921 WH / paa alle 13 Numre / 22tankefuld, No. 132 Steen Steensen Blicher (Hedelær-alm F” underlined in blue crayon and “Peters” added

ken, den liden fugl), No. 133 Dér, hvor vi stred og

in blue crayon, “alm F” crossed out in pencil.

sang, No. 134 Når somrens sang er sungen, No. 135

On cover “CARL NIELSEN: ‘MODEREN’ OP 41 / (KLA-

De snækker mødtes i kvæld på hav, No. 136 Naturens

VERUDTOG)” and “F. 17565” (plate number) added inædle dyrker begærer ej dens krans, No. 137 Tunge,

ink; at bottom of ﬁrst music page “Copyright 1921 bymørke natteskyer, No. 138 Som dybest Brønd gir altid

WH Copenhagen 17565” added in pencil, at top leftklarest Vand, No. 139 Det danske Brød paa Sletten

corner “Opff / Dansk + Fransk Moderen / Skuespil af

gror, No. 140 Udrundne er de gamle Dage, No. 141

Helge Rode” added in pencil.

Betragt mit svage spind, No. 142 Frihed er det bedste

On fols. 1-28:

guld, No. 143 Nu lyser løv i lunde, No. 144 Syndﬂo-manuscript copy (voice, pf.) of Nos. 117, 118, 119, 121den (Når nat udvælder)]Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 319

319

22/02/09 8:31:34

DK-Kk, CNS 419.

No. 139 with heading “XV / Det danske Brød paa Slet-

Acquired by The Royal Library from the Wilhelm

ten gror.”, “XV” added in pencil, stanzas 1-2 written

Hansen Archives in 1997.

below voice by CN, stanzas 3-5 typewritten on pasted-

34.7x26.1 cm, 12 folios, numbered 1-18 in ink, 19-20v

v

in pencil (foreign hand), title page, fols. 18 , 19 , 20v

in paper.
No. 140 with heading “XIII / Udrundne er de gamle

unpaginated; written in ink; few printed pages pasted

Dage”, “XIII” changed to “XVI” in pencil, print on ain; in brown paper covers.

pasted-in piece of paper, trimmed, additions in pen-

Paper type: pp. 1-19: 12 staves (hand-ruled).

cil (foreign hand) and ink (CN).

ﬁnal 2 folios: No. 8. folio 22 (22 staves).

No. 141 with heading “XVII / Bestragt mit svage

Partly autograph.

spind.”, “XVII” added in pencil (foreign hand).

11

Title page: “Nye folkelige Melodier / af / Carl Nielsen”.
9

No. 142 with heading “XVIII / Frihed er det bedste guld”.

“Nye” changed to “Tyve” in red crayon. At top left cor-No. 143 with heading “Nu lyser Løv i Lunde.”, “XIX”

ner “N” added in red crayon, compositor’s markings

added in pencil (foreign hand).

added in pencil.

No. 144 with title “Syndﬂoden.”, “XX” added in pen-

Printing manuscripts for:cil, stanzas 3-14 printed on 2 pasted-in papers.

No. 125 with heading “I / Paa det jævne.”

Additions in pencil, at bottom left corner of ﬁnal mu-

No. 126 with heading “II / Derfor kan vort øje glædes.”sic page “Hr Magister Jeppesen / Villa Hafnia, Rung-

No. 127 with heading “III. / Jeg saa kun tilbage.”sted” added in ink (Knud Jeppesen ?), added in ink on

No. 128 with heading “IV / Morgendug, der sagte bæver.”front cover “F. 17.810 / CARL NIELSEN: 1220 folkelige /No. 130 with heading “V / Den store mester kommer.”,

Melodier.”“V” changed to “VI” in pencil.
No. 131 with heading “VI Der sad en ﬁsker saa tanke-

MS 32 3064

fuld.”, “VI” changed to “(VII)” in pencil.

[No. 139 Det danske Brød paa Sletten gror]

No. 129 with heading “VII / Jord i hvis favn.”, “VII”

DK-Kk, CNS 109c.

changed to “(V)” in pencil.

Acquired by The Royal Library from Politikens Antik-

No. 132 with heading “VIII. / St.St. Blicher.”variat in 1998 (bifolio 1).

No. 133 with heading “IX. Dèr, hvor vi stred og sang.”

Donated to The Royal Library by Thorvald Balslev in

No. 134 with heading “X. / Når somrens sang er sungen.”1953 (bifolio 2).

No. 135 with heading “XI / De snækker mødtes.”

34.9x26 cm, 2 bifolios written in ink.

No. 137 with heading “XII / Tunge, mørke natteskyer.”,Paper type: 12 staves (hand-ruled).

“XII” changed to “XIII” in pencil, print on a pasted-in

Partly autograph.

10
piece of paper, trimmed, stanza 1 printed below

Title page: “Det danske Brød paa Sletten gror. / Ord af

voice, stanza 2 written below voice by CN, stanzas 3-4

Jeppe Aakjær / Musik af Carl Nielsen.”added below ﬁnal system in ink (CN).

On bifolio 1:

No. 138 with heading “XIII / Som dybest Brønd.”, “XIII”

fair copy, autograph (voice, pf.) of No. 139 with head-changed to “XIV” in pencil, stanza 1 written below

ing “Det danske Brød paa Sletten gror.”, stanza 1

voice (CN), stanzas 2-4 written on 2 pasted-in papers

below voice, stanzas 2-5 written on fol. 2 .

below ﬁnal system (Jeppe Aakjær?).

On bifolio 2:

No. 136 with heading “XIV / Naturens ædle dyrker.”,manuscript copy (voice, pf.) of No. 139 with heading“XIV” changed to “XII” in pencil.

“Det danske Brød paa Sletten gror.”, stanza 1 belowrvvoice, stanzas 2-5 written on fol. 2 .
9 “New” changed to “Twenty”.
10 First print from Højskolebladet 34 (1917), cols
21095-96 (PR 9 ).

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 320

11 Print from Jule-Hefte / NORDENS MUSIK (1919)1(PR 14 ).

320

22/02/09 8:31:35

MS 32 3065

MS 32 3076

[No. 300 Fædrelandssang (Du danske Mand! af al din[No. 42 Der er en Bøn paa Jorden, No. 62 Hvi vil du dig

Magt)]

saá klage, No. 84 Utallige Blomster paa Jorderig gro]

DK-Kk, CNS 130g.

DK-Kk, CNS 154c.

Donated by Irmelin Eggert Møller? 1958? (Returned to

Donated to The Royal Library by Ethan and Gertrud

The Royal Library from Odense Bys Museer in 1998).

Rosenkilde Larsen in 2005.

v

14

v

35x26.5 cm, 1 bifolio written in ink, fol. 2 blank.

34.7x26 cm, 1 bifolio written in ink, fol. 2 blank.

Paper type: B & Nr. 2.E (14 staves).

Paper type: 2 12 staves (hand-ruled).

The source has been restored.

Autograph.

Autograph.

Title on ﬁrst music page: “I”.

Title page: “Fædrelandssang / af Holger Drachmann /On fol. 1:

Musik af / Carl Nielsen / (blandet Kor)”.

recto: fair copy (pf. or SATB on 2 staves), early version

Printing manuscript (vocal score, SATB on 2 staves)r

det

for No. 300, stanza 1 between staves, on fol. 2 “23diefor Hvi vil du dig saa klage, stanza 1 between staves,og

Vers (se den trykte Sang med Klaver)”12 added inrstanza “III” below ﬁnal system.
verso: fair copy (pf. or SATB on 2 staves), early version

ink (CN), on fol. 2 tenor part in treble clef; composi-

for Der er en Bøn paa Jorden with heading “II. / ‘Fader

tor’s markings added in blue and red crayon.

15Vor’ ”, stanza 1 between staves, stanza II below B.

On fol. 2:
MS 32 3072

recto: fair copy (pf. or SATB on 2 staves), early version,[No. 262 Der er et yndigt Land]

heading “III. / Utallige Blomster paa Jorderig gro.”,DK-Kk, CNS 289n.

stanza 1 above T1, stanza 2 between staves, stanza 3

Acquired by The Royal Library from auctioneer

below B.

Bruun Rasmussen in 2003.
10x26 cm, 1 folio, trimmed, written in ink, verso blank.

MS 32 3079

Paper type: 4 staves (hand-ruled).

[No. 112 Cithar! lad min Bøn dig røre, No. 113 Visse-

Autograph.

lulle nu, Barnlil!, No. 114 Alt Maanen oprejst staar]

Fair copy (pf.) of No. 262 with heading “Der er et

DK-Kk, CNS 332e.

yndigt Land”, stanza 1 between staves; enclosed let-

Acquired by The Royal Library from Dan Fog in 2006.

ter: “Kjøbenhavn 25-II-24, Fru Birkeland!

35x26 cm, 1 gathering of 2 bifolios paginated 2-3,

Paa Grund af Deres Broders Arbejde i Kunstens

fol.1 , fols. 3-4 unpaginated; written ink, fols. 3-4

Tjeneste, især for den folkelige Sang skal De faa

blank.

denne Afskrift af Melodien, men det siger sig selv,

Paper type: 18 staves (hand-ruled).

at De ikke giver andre Afskriften til Benyttelse eller

Autograph, director’s score for these numbers of theKopiering.

incidental music.

16r

On fol. 1:

Deres forb.
13

recto: fair copy (voice, harp) for Cithar, lad min Bøn

Carl Nielsen.”odig røre with heading “N 19”, stanza 1 below voice,
12 “Second and third verses (see the printed songwith piano)”.
13 “Copenhagen 25.2.24/Mrs. Birkeland! Because ofyour brother’s services to the arts, especially his
folkelige songs, I’ll give this copy of the tune toyou, of course provided that you do not let otherpeople use or copy the tune.
Yours sincerely, Carl Nielsen”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 321

stanza 2 below ﬁnal system.
vr

On fols. 1 -2 : fair copy (B, pf.) for Nu, hvi gnider du saaovoldsomt with heading “N 20”.
14 Not in the present edition.
15 “II / Our Father”.
16 Not in the present edition.

321

22/02/09 8:31:35

On fol. 2:

34.5x26 cm, 1 folio, recto written in ink, verso written

recto: fair copy (voice, pf.) for Visselulle nu, Barnlil! withoin pencil, in library binding.

heading “N 24”, stanza 1 below voice;

Paper type: 12 staves (hand-ruled).

verso: fair copy (voice, pf.) with heading “Alt Maanen

The source has been restored.

oprejst staar” in D minor, stanza 1 below voice.

Autograph.
Recto: fair copy (voice, pf.) of No. 232 with heading

MS 32 3082“‘Alt paa den vilde Hede’”, stanza 1 below voice.

4[No. 184 Tyst som Aa i Engen rinder, No. 188 Grøn

Verso: sketch for unknown piece, 4 , notated on 3

er Vaarens Hæk, No. 190 O, hvor jeg er glad i Dag!,

staves.

No. 255 O, hvor jeg er glad i Dag!, No. 256 Tyst som
Aa i Engen rinder, No. 348 Grøn er Vaarens Hæk,MS 32 3086

No. 352 O, hvor jeg er glad i Dag!, No. 355 Tyst som[No. 302 Serenade (Gerne vi lytter, naar Strængene

Aa i Engen rinder, No. 395 Tyst som Aa i Engen rin-

bringer)]der, No. 403 Grøn er Vaarens Hæk]DK-Kk, CNS 303c.

DK-Kk, CNS 135d.

Aquiered by The Royal Library from Gerda Petri in 2008.

Donated to The Royal Library by Lene Fog in 2006.

26x17.5 cm, 4 bifolios written in ink, fols. 6 , 8 blank.

34.5x26.1 cm, 1 folio, recto written in pencil, verso

Paper type: 8 staves.

written in ink.

Partly autograph.

Paper type: 12 staves (hand-ruled).

Title page: “Serenade / af Hother Ploug / Musik af Carl

Partly autograph.

Nielsen.”Recto: draft (unison song) for Nos. 188, 348, 403 with

Vocal parts (SATB) for No. 302.

v

v

heading “Grøn er Vaarens Hæk”, bb. 5-16: text added inpencil (foreign hand); draft (unison song) for Nos. 184,

MS 32 4008

256, 355, 395 with tempo marking “Roligt men ikke

[No. 295 Blomsterstøv fra Blomsterbæger, No. 296 Nu

17

for langsomt”, bb. 3-7 added in pencil (foreign hand);er for stakket Tid forbi]

draft (unison song) for Nos. 190, 255, 352 with tempo

DK-Kk, CNS 3a.

18
marking “Meget livligt”, bb. 5-13: text added in pencil➤ 29 Little Preludes for Organ or Harmonium, Op. 51.

(foreign hand). At bottom of page “Tilhører Carl Nielsen

34.1x25 cm, 2 pages written in pencil and ink.

19

arkiv efter min død / 14/5 – 35 Nora Elé” added in ink.

Autograph.

Verso: manuscript copy of 4 bars of an unidentiﬁed

On p. 33: sketch (vocal score, SATB on 2 staves) for No.

piece for 2 voices, pf. with German text beginning:

295 written in pencil, stanza 1 between staves.

“Frosinn unde Laune, sie würzen das Leben [...]”

20

On p. [35]: draft (vocal score, SATB on 2 staves) for No.
296 written in pencil, stanza 1 between staves written

MS 32 3085

in ink.

[No. 232 Alt paa den vilde Hede]

For a complete description of the manuscript, see

DK-Kk, CNS 75e.

CNU II/12, pp. 248-249.

Acquired by The Royal Library from Knud Martner in2008.

MS 32 4022
[No. 16 Hilsen (Den dovne Fjord som gynger)]
17 “Quietly, but not too slowly”.
18 “Very lively”.
19 “Belongs to The Carl Nielsen Archives after mydeath / 14/5-35 Nora Elé”.
20 German text from Otto Nicolai, Die Lustigen
Weiber von Windsor.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 322

21➤ Humoresque- Bagatelles, Op. 11.
DK-Kk, CNS 12b.
26x34.5 cm, 1 folio written in pencil.
21 Not in the present edition.

322

22/02/09 8:31:35

Paper type: 16 staves (hand-ruled).

On ﬁnal page: draft (unison song, on 2 staves) for No.

Autograph.

417 with heading “Vuggevise”, staff 2 empty. For ar

On fol. 3 : sketch (orch.), unﬁnished version of No. 16 forcomplete description of the manuscript, see CNU IV/1.

ﬂ. 1,2, ob. 1,2, cl. (A), 1,2, cor. 1,2, voice, vl. 1,2, va., vc., cb.
For a complete description of the manuscript, see

MS 33 1043

CNU II/12, p. 241.

[No. 388 Børnehjælpsdagens Sang (Vi Børn, vi Børn,vi vaagner]

MS 32 4040

DK-Kk, CNS 64b.

[No. 126 Derfor kan vort øje glædes]➤ Symphony No. 3, Sinfonia Espansiva.

➤ Suite, Op. 45.

34.5x25.8 cm, 1 bifolio written in pencil;

DK-Kk, CNS 16c.

35x27 cm, 1 folio written in pencil.

34.5x25.6 cm, 1 folio written in pencil.

Paper type: 16 staves (hand-ruled).

Paper type: 12 staves (hand-ruled).

Autograph.

The source has been restored.

On bifolio, fol. 2 : sketch without text (vocal score,

Autograph.

SA) for No. 388.

v

r

On fol. 18 : draft (pf.) for No. 126 with heading “Derfor

For a complete description of the manuscript, see

kan vort Øje glædes”, poet “Richardt” added above top

CNU II/3, p. 190.

staff, accompaniment in bb. 5-8; draft (unison song)for No. 126, stanza 1 below staff.

MS 33 1048

For a complete description of the manuscript, see[No. 326 Fredlys din Jord, du danske Mand!]CNU II/12, p. 244.

DK-Kk, CNS 65c.
➤ Symphony No. 4. The Inextinguishable.

MS 32 4042

35.5x27 cm, 1 bifolio written in pencil.

[No. 430 Disse djærve Hammerslag]

Paper type: B. & H. Nr. 13. A./ 8. 10. (22 staves).

➤ Symphonic Suite, Op. 8.

Autograph.

DK-Kk, CNS 17a.

On ﬁnal page: draft without text (vocal score, TTBB on

34.4x24.7 cm, 1 folio written in pencil.

2 staves) for No. 326 with heading “Fredlys din Jord”.

Paper type: 16 staves (hand-ruled).

For a complete description of the manuscript, see

The source has been restored.

CNU II/4, p. 123.

Autograph.
r

On fol. 1 : sketch (unison song) for No. 430 with text

MS 33 1056

fragment.

[No. 312 Udrundne er de gamle Dage]

For a complete description of the manuscript, see

DK-Kk, CNS 67c.

CNU II/12, p. 240.

➤ Symphony No. 6, Sinfonia Semplice.
34.4x26 cm, 1 folio written in ink.

MS 32 4052

Paper type: 12 staves (hand-ruled).

[No. 417 Vuggevise (Sov min lille, min dejlige Dreng)]

Manuscript copy.

DK-Kk, CNS 23.

Recto: manuscript copy (vocal score, SATB on 2 staves)➤ Sonata for Violin and Piano, G major.

of No. 312 with heading “Udrundne er de gamle Dage

33.4x25.4 cm.

/ N.F.S. Grundtvig”, 3 stanzas between staves.

Paper type: 12 staves (hand-ruled).

For a complete description of the manuscript, see

Autograph.

CNU II/6, pp. 128-129.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 323

323

22/02/09 8:31:35

MS 33 2001

MS 33 2004

[No. 226 Afholdssangen (Frem til Frihed til Lys og til[No. 223 Aldrig hans Ord kan jeg glemme!, No. 424

Lykke)]

Solnedgang (Svømmende Skyer, dejlige Cyklader)]DK-Kk, CNS 72a.

DK-Kk, CNS 74a.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler in 1958.

ler in 1958.
r

r

26x17.3 cm, 1 bifolio, fols. 1 -2 written in ink, fol. 2v

34.7x26.1 cm, 1 folio written in pencil.

blank.

Paper type: 12 staves (hand-ruled).

Paper type: 6 staves (hand-ruled).

Autograph.

The source has been restored.

Recto: draft (voice, pf.) for No. 223.

Autograph.

Verso: sketch (voice, pf.) for No. 424, bb. 1-10 with

Dating: “Kjøbenhavn den 30/5 09.”.
r

heading “Andantino” (see also MS 33 2202).

r

On fols. 1 -2 : fair copy (pf.) of No. 226 with stanza 1
between staves.

MS 33 2005
[No. 223 Aldrig hans Ord kan jeg glemme!]

MS 33 2002

DK-Kk, CNS 74b.

[No. 226 Afholdssangen (Frem til Frihed til Lys og til

Donated to The Royal Library by Irmelin Eggert Møl-

Lykke)]

ler in 1958.

DK-Kk, CNS 72b.

34.5x26.5 cm, 1 folio written in pencil.

Acquired by The Royal Library from the estate of Hen-

Paper type: 12 staves (hand-ruled).

rik Knudsen in 1947.

The source has been restored.
r26x34.5 cm, 1 bifolio, fol. 1 written in pencil, fols.
vv

Autograph.

1 -2 blank.

Draft without text (voice, pf.) for a revised version ofPaper type: 6 staves (hand-ruled).

No. 223.

The source has been restored.
Autograph.

MS 33 2006

Dating: “30.5.09”.

[No. 39 Alt paa den vilde Hede, No. 78 O, sad jeg, somrOn fol. 1 : draft (pf.) for No. 226 with stanza 1 be-

Maria sad, No. 81 Ton det, Himmel, syng det, Jord]

tween staves.

DK-Kk, CNS 75d.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2003

ler in 1958.

[Ak, min Rose visner bort]

22

25x34.5 cm, 1 folio written in pencil.

DK-Kk, CNS 73c.

Paper type: 16 staves (hand-ruled).

27.7x27 cm, 1 folio, trimmed, written in pencil, verso

The source has been restored.

blank.

Autograph.

Paper type: 15 staves (hand-ruled).

Recto: draft (pf.) for Nos. 39 and 78 with headings

The source has been restored.

“N 122.” and “135a”, respectively, text fragments for

Autograph.

No. 39; sketch with heading “(211)”, text fragment

Sketch (T, Bar., org.), unﬁnished version, for Ak, min“trives maa og lykkes”, 2 circles added in red crayon.

Rose visner bort, in G minor, T bb.1-11 as No. 38, Bar.
bb. 1-3 as No. 38, org. empty, text fragment in Bar.

44 , D major key signature; sketch for No. 81, bb.+11-12

bb.1-2.

with heading “N 352”, text fragment.

oVerso: sketch on one staff with heading “Andante”, ino22 Not in the present edition.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 324

324

22/02/09 8:31:36

MS 33 2007

The source has been restored.

[No. 39 Alt paa den vilde Hede]

Autograph.

DK-Kk, CNS 75b.

Fair copy (voice, pf.) of No. 221 with heading “Angst /26x36 cm, 1 folio written in ink.

Digt af Aarestrup”.

Paper type: 16 staves (hand-ruled).
The source has been restored.

MS 33 2010

Manuscript copy.

[No. 251 Balladen om Bjørnen (De dræbte Bjørnens

Recto: fair copy without text (pf.) by Paul Hellmuth

Unger)]of No. 39, one version of b. 3 added by CN in pencil,

DK-Kk, CNS 78a.

4 versions of b. 7 by Paul Hellmuth, text fragment

Donated to The Royal Library by Irmelin Eggert Møl-

for stanza “17” and the whole stanza “19” added at

ler in 1958.

bottom of page (CN?); “Kære hr. C.N. / Synes De om

34.2x25.6 cm, 1 bifolio and 3 folios written in ink.

23
denne Udsættelse? / Deres hengivne Paul H.” added

Paper type: 12 staves (hand-ruled).

in ink (Paul Hellmuth).

The source has been restored.

Verso: 12 bars of an incomplete fair copy by Paul

Autograph.

Hellmuth, crossed out in ink, of 4 parts notated with3
treble clef in 4 , D  major.

Title page: “Balladen om Bjørnen / Vers af Aage Berntsen / efter Motiv fra den / svenske Digter Ahlmquist /Musik af / Carl Nielsen.”

MS 33 2008

Dated: “9/1 24”.

[No. 39 Alt paa den vilde Hede]

On fols. 1 -5 : fair copy (voice, pf.) of No. 251, addi-

DK-Kk, CNS 75c.

tions and corrections in pencil.

v

v

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 33 2011

13.2x26 cm, 1 folio, trimmed, written in ink.

[No. 199 Danevang med grønne bred, No. 251 Bal-

Paper type: 5 staves (hand-ruled).

laden om Bjørnen (De dræbte Bjørnens Unger)]

The source has been restored.

DK-Kk, CNS 78b.

Manuscript copy.

Donated to The Royal Library by Irmelin Eggert Møl-

Recto: fair copy without text (pf.) by Paul Hellmuth of24

ler in 1958.

No. 39, “Hermed et lille Forsøg til. Deres PH.” added

35x26 cm, 6 folios paginated 1-3, one page unpagi-in ink, circle added above b. 4 in red crayon.

nated, 5, one page unpaginated, 6-10, ﬁnal page un-

Verso: music theory exercise written in pencil.

paginated; written in pencil.
Paper type: 12 staves (hand-ruled).

MS 33 2009

Autograph.

[No. 221 Angst (Hold fastere omkring mig)]

On fols. 1 -6 : draft (voice, pf.) for No. 251 with head-

DK-Kk, CNS 76.

ing “Bjørnen”.

Donated to The Royal Library by Irmelin Eggert Møl-

On fol. 6: sketch without accompaniment for No.

ler in 1958.

199; draft without text (pf.) for No. 199, heading

26x34.5 cm, 1 folio written in ink.

“Dannevang med grønne Bred, Tillæg til H.” added

Paper type: 12 staves (hand-ruled).

(Emil Telmányi?).

r

25

23 Dear Mr. C.N. / Do you like this arrangement?
Sincerely yours Paul H.”
24 “Here another suggestion. Yours PH”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 325

r

25 “Dannevang med grønne Bred, Supplement toH.” (“H” = Folkehøjskolens Melodibog).

325

22/02/09 8:31:36

MS 33 2012

The source has been restored.

[No. 251 Balladen om Bjørnen (De dræbte Bjørnens

Autograph.

Unger)]

Fair copy (vocal score, SA on 1 staff) of No. 389 with

DK-Kk, CNS 78c.

heading “Barnets Sang / (for to lige Stemmer)” , 3

Donated to The Royal Library by Irmelin Eggert Møl-

stanzas below staff.

27

ler and Anne Marie Telmányi in 1953.
33.6x26.8 cm, 6 folios paginated 2-11, title page unv

MS 33 2015

paginated, written in ink, fol. 5 blank.

[No. 389 Barnets Sang (Kom, i Dag maa alle synge]

Paper type: K.U.V. Beethoven Papier Nr.11. (4 Systeme)

DK-Kk, CNS 79d.

12 staves.

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Manuscript copy (Johannes Andersen).

21.6x17 cm, 1 folio, trimmed, written in pencil, verso

Title page: “Balladen om Bjørnen. / Vers af Aage

blank.

Berntsen / efter Motiv fra den / svenske Digter Ahlm-

Paper type: 5 staves (drawn in pencil).

quist / Musik af / Carl Nielsen / Op. 47.” On top of

Autograph.

26
page “Anders Brems / venskabeligst tilegnet.” added

Draft without text (vocal score, SA on 1 staff) forin ink (CN). Printer’s additions in pencil.

No. 389.

Dating: “9/1-24”.
Printing manuscript (voice, pf.) for No. 251, additions

MS 33 2016

in pencil by CN and compositor.

[No. 236 Barnets Sang (Kom, i Dag maa alle synge)]
DK-Kk, CNS 79b.

MS 33 2013

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 236 Barnets Sang (Kom, i Dag maa alle synge)]ler in 1958.

DK-Kk, CNS 79a.

34.5x26 cm, 1 folio written in ink, verso blank.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: 12 staves (hand-ruled).

ler and Anne Marie Telmányi in 1953.

The source has been restored.

17.5x25.5 cm, 1 bifolio, trimmed, written in ink, fols.

Autograph.

vv

1 , 2 blank.

Fragment (5 bars) of a fair copy without text of No.

Paper type: 6 staves (hand-ruled).

236 with heading “Barnets Sang”.

The source has been restored.
Autograph.

MS 33 2017

Printing manuscript (pf.) for No. 236 with heading[No. 240 Blomstervise (Danmarks Sommer gik sin“Barnets Sang”, stanza 1-3 between staves, composi-Gang)]

tor’s additions in pencil.

DK-Kk, CNS 80c.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2014

ler in 1958.

[No. 389 Barnets Sang (Kom, i Dag maa alle synge]

35.5x27 cm, 1 bifolio written in pencil and ink.

DK-Kk, CNS 79c.

Paper type: B. & H. Nr. 18. A. 7. 14. (10 staves).

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Autograph.

34.5x25.8 cm, 1 folio written in ink, verso blank.

Draft (voice, pf.) for No. 240 (bb. 1-45) with heading“Blomstervise”.

26 “Dedicated to Anders Brems in friendship.”
27 “Song of the Child / (for two equal voices)”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 326

326

22/02/09 8:31:36

MS 33 2018

MS 33 2021

[No. 240 Blomstervise (Danmarks Sommer gik sin[No. 230 Børnehjælpsdagens Sang (Vi Børn, vi Børn,

Gang)]

vi vaagner)]

DK-Kk, CNS 80a.

DK-Kk, CNS 288d.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler in 1958.

ler in 1958.

35x27 cm, 1 bifolio written in ink.

34.5x26 cm, 1 folio written in ink, verso blank.

Paper type: 12 staves.

Paper type: 12 staves (hand-ruled).

The source has been restored.

The source has been restored.

Manuscript copy.

Autograph.

Manuscript copy (voice, pf.) of No. 240 with heading

Dating: “Kjøbenhavn 27 April 1911”.

“Blomstervise”.

Printing manuscript (pf.) for No. 230, stanza 1 between staves, compositor’s additions in pencil.

MS 33 2019[No. 240 Blomstervise (Danmarks Sommer gik sin

MS 33 2022

Gang)][No. 388 Vi Børn, vi Børn, vi vaagner]

DK-Kk, CNS 80b.

DK-Kk, CNS 288a.

Donated to The Royal Library by Sylvia Schierbeck in

Donated to The Royal Library by Erik H. Jung in 1944.

1970.

33,5x25,5 cm, 1 folio written in ink, verso blank.

27x34 cm, 1 bifolio written in ink.

Paper type: 16 staves (hand-ruled).

Paper type: No. 14 K. 12 (12 staves).

Autograph.

The source has been restored.

Fair copy (vocal score, SA on 1 staff) of No. 388, stanza

Manuscript copy.

1 below staff, stanzas 2-6 added below system, above

Manuscript copy (voice, pf.) of No. 240 with heading

top staff “Kære Vilhelm Rosenberg! Her er saa den lille“Blomstervise”.

Melodi, som jeg har paalagt, inden hun gik hjemmefra, at neje pænt for Dig og hilse fra Far og sige Tak

MS 33 2020

fordi Du vil tage Dig af hende. Barnet er jo ikke nogen[No. 315 Byd mig at leve, No. 318 Til Asali (Før drøm-

indtagende Skønhed, men hun er en lille ærlig Sjæl,te jeg fast hver eneste Nat)]der tror alt hvad man siger til hende og gjør hvad der

DK-Kk, CNS 287.

bliver hende paalagt saa godt hun kan. Hilsen fra Din

Donated to The Royal Library by Irmelin Eggert Møl-hengivne Carl Nielsen”; enclosed with PR 24.

28

ler in 1958.
34x26 cm, 1 folio, recto written in ink, verso written

MS 33 2023

in pencil.

[No. 325 Vi Børn, vi Børn, vi vaagner]

Paper type: 12 staves (hand-ruled).

DK-Kk, CNS 288b.

The source has been restored.
Autograph.

28 “Dear Vilhelm Rosenberg! Here is the little
melody which before she left home I haveasked to curtsey nicely to you and give herfather’s compliments to you, thanking you forlooking after her. As you will see, the child is
no astonishing beauty, but an honest soul who
will believe everything that is said to her anddo everything she is asked to as well as she can.
Yours sincerely Carl Nielsen”.

Recto: fair copy (vocal score, TTBB on 4 staves) of No.
315 with stanza 1 between each staff.
Verso: draft (vocal score, TTBB on 4 staves) for No. 318
with stanza 1 below top staff.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 327

327

22/02/09 8:31:36

Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2026

ler in 1958.

[No. 325 Vi Børn, vi Børn, vi vaagner]

34.2x25.8 cm, 1 folio, recto written ink, verso written

DK-Kk, CNS 288c.

in pencil.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: 16 staves (hand-ruled).

ler in 1958.

Autograph.

34.5x26 cm, 1 folio written in pencil, verso blank.

Dating: “Kjøbenhavn 27-5-11.”

Paper type: 16 staves (hand-ruled).

Recto: printing manuscript (vocal score, TTBB on 2

Autograph.

staves) for No. 325 with heading “(Børnehjælpsangen

Draft without text (vocal score, TTBB on 2 staves) forfor Mandsstemmer.) / Vi Børn, vi Børn!”, stanza 1

No. 325 with heading “Mandskor”, text fragments.

between staves, instructions for syllabic divisions instanzas 2-6 added in ink (CN), compositor’s markings

MS 33 2027

added in pencil and ink.

[No. 241 Christianshavn (Kong Christian stod paa

Verso: 2 sketches for Sonata No. 2 for Violin and Piano,

Slotsholmens Grund)]Op. 35.

DK-Kk, CNS 82.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2024

ler in 1958.

[No. 230 Børnehjælpsdagens Sang (Vi Børn, vi Børn,c. 17.5x25.8 cm, 1 folio, trimmed, written in pencil.

vi vaagner)]

Paper type: 8 staves (hand-ruled).

DK-Kk, CNS 288e.

Autograph.

Donated to The Royal Library by Irmelin Eggert Møller in 1958.
26.2x17.2 cm, 1 folio, trimmed, written in pencil,

Recto: draft without text (pf.) for No. 241, B  major.

4

Verso: c. 10 bars sketch with heading “Kilderejsen”, 4 ,B  major.

verso blank.
Paper type: 18 staves (hand-ruled).

MS 33 2028

The source has been restored.

[No. 242 Danmark (Vi elsker vort blomstrende Fædre-Autograph.

land)]

Draft without text (pf.) for No. 230; incomplete

DK-Kk, CNS 83b.

sketch of this song for three-part children’s choir.

Donated to The Royal Library by Anders Brems in 1935.
34.5x26 cm, 1 folio, recto written in ink, verso writ-

MS 33 2025

ten in pencil.

[No. 305 Vi Børn, vi Børn, vi vaagner]

Paper type: 16 staves (hand-ruled).

DK-Kk, CNS 288f.

The source has been restored.

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Recto: fair copy without text (voice, pf.) of No. 242

34.4x26 cm, 1 folio written in pencil, verso blank.

with heading “Jeg elsker mit blomstrende Fædreland”.

Paper type: 16 staves (hand-ruled).

Verso: vocal exercises without text (foreign hand).

The source has been restored.
Autograph.

MS 33 2029

Draft without text (vocal score, SATB on 2 staves) for[No. 253 Danmark (Vi elsker vort blomstrendeNo. 305 with heading “Vi Børn! / Bl. Kor”; additionsFædreland), No. 256 Tyst som Aa i Engen rinder]

in ink.

DK-Kk, CNS 83c.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 328

328

22/02/09 8:31:36

Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2032

ler in 1958.

[No. 400 Danmark, nu blunder den lyse Nat]34.3x26 cm, 1 folio written in pencil.

DK-Kk, CNS 84b.

Paper type: 12 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Dating: “10/1 24”.

34.9x25.7 cm, 1 folio, recto written in pencil, verso

Recto: draft without text (pf.) for No. 253 with head-

written in ink.

o

ing “N 29”, “Danmark” added (foreign hand); sketch

Paper type: 12 staves (hand-ruled).

for an instrumental piece with tempo marking

The source has been restored.

“adagio”.

Partly autograph.

Verso: draft without text (pf.) for No. 256 with heading

Recto: draft without text (vocal score, SATB on 2o

“N 125”; sketch for pf. or voice; sketch for one partstaves) for Cantata for the Fiftieth Anniversary of the Soci-for an unidentiﬁed piece with heading “Allegretto”; atety for the Education of Young Merchants; draft without

top right corner “Axel Juel” added (foreign hand).

text (vocal score, SSA on 2 staves) for No. 400 with30

heading “Danmark nu blunder (3 lige Stemmer)” ;31

MS 33 2030

sketch for Forspil til ‘Hver Tid værner’ from the cantata.

[No. 341 Danmark (Vi elsker vort blomstrende Fædre-Verso: manuscript copy, “Opgaver til Organistexamen

land)]

Juni 1930.”

32

DK-Kk, CNS 83a.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2033

ler in 1958.

[No. 400 Danmark, nu blunder den lyse Nat]10.8x26 cm, 1 folio, trimmed, written in pencil.

DK-Kk, CNS 84c.

Paper type: 4 staves (hand-ruled).

Private ownership, Lejf Marcussen.

Autograph.

Photocopy donated to The Royal Library by Lejf Mar-

Draft without text (vocal score, SA on 1 staff) forocussen in 1984.

No. 341 with heading “N . 29”, “Vi elsker vort blom-

Autograph.

strende Fædreland” and “‘Danmark’” added (foreign

Dating: “Damgaard, Fredericia 10-9-30”.

hand); sketch for an unidentiﬁed instrumental piece.

Fair copy (vocal score, SSA on 2 staves) of No. 400
with stanza 1 between staves, above top system “medMS 33 2031

venlig Hilsen til Hr. Markussen fra Carl Nielsen”[No. 285 Danmark, nu blunder den lyse Nat]

added in ink.

33

DK-Kk, CNS 84a.
Donated to The Royal Library by Ove Michelsen in

MS 33 2034

1975.

[No. 282 Dannebrog, vift med din Vinge]vv

33x26.8 cm, 1 bifolio written in ink, fols. 1 -2 blank.

DK-Kk, CNS 85b.

Paper type: Nr. 1 F.S. (12 staves).

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Autograph.

34.5x25.8 cm, 1 folio written in ink, verso blank.

Dating: 20/12 29.”

Paper type: 12 staves (hand-ruled).

Fair copy (pf.) of No. 285 with heading “Danmark, nu
blunder den lyse Nat.”, stanza 1 between staves.

29

30 “Danmark nu blunder (SSA)”
31 Prelude to Hver Tid værner.
32 “Exercises for the organist exams June 1930” .
33 “Best wishes to Mr. Markussen from Carl
Nielsen”.

29 See PR 49.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 329

329

22/02/09 8:31:37

The source has been restored.

MS 33 2037

Autograph.

[No. 244 Det danske Brød paa Sletten gror]

Fair copy (pf.) of No. 282 with heading “Dannebrog,

DK-Kk, CNS 109.

vift med din Vinge.”, stanza 1 between staves, stanzas

Donated to The Royal Library by Thorvald Balslev in

2-3 below the music, compositor’s additions in pencil.

1953.
12.5x25.7 cm, 1 folio, trimmed, written in ink, verso

MS 33 2035

blank.

[No. 413 Dannebrog, vift med din Vinge]

Paper type: 4 staves (hand-ruled).

DK-Kk, CNS 85a.

The source has been restored.

Donated to The Royal Library by Irmelin Eggert Møl-

Manuscript copy.

ler in 1958.

Manuscript copy (pf.) of No. 244 in E major, stanza 1

20.3x16.8 cm, 1 folio, trimmed, written in ink andabove system, at top right corner “Carl Nielsen (efter

pencil.

34
blyantskladde)” added in ink (foreign hand). See

Paper type: ordinary paper, 1 staff (drawn in pencil).

also MS 32 3064.

Autograph.
Recto: “Ring (Brev) / Hakon Andersen + puttet ind

MS 33 2038

/ Bangert / Scavenius / Dalberg / Riis-M. / Oluf M. /[No. 330 Den danske Sang er en ung, blond Pige]

Laubs” written and crossed out in pencil; fair copy

DK-Kk, CNS 91c.

(unison song) of No. 413, text “Dannebrog vift med

Donated to The Royal Library by Irmelin Eggert Møl-

din Vinge” in bb. 1-2, at bottom “Harm. Sept om

ler in 1958.

1930. Tidl.f.Da. Folk. (Skovrup)” (foreign hand).

11.5x34.6 cm, 1 folio, trimmed, written in pencil andoVerso: 4 stanzas for No. 413 with heading “N 276”

ink.

written in ink, stanza 2 crossed out in pencil.

Paper type: 4 staves (hand-ruled).
Autograph.

MS 33 2036

Recto: draft without text (vocal score, TTBB on 2

[No. 333 Dannevang med grønne Bred, No. 335

staves) for No. 330, heading “Den danske Sang er en

Rosen blusser alt i Danas Have, No. 395 Tyst som Aa i

ung blond Pige” added (Irmelin Eggert Møller).

Engen rinder]

Verso, upside down: sketch and “Til Bifagselever til

DK-Kk, CNS 86c.

store Eksam” added in ink.

35

35x26 cm, 1 folio written in pencil.
Paper type: 12 staves (hand-ruled).

MS 33 2039

Photocopy of autograph.

[No. 415 Den Magt, som gav mig min lille Sang]

Recto: draft (vocal score, SA on 1 staff) for No. 333

DK-Kk, CNS 97.

owith heading “N . 1”, “Dannevang med grønne bred)”

Donated to The Royal Library by Irmelin Eggert Møl-

added (foreign hand); draft (vocal score, SA on 1 staff)

ler in 1958.

ofor No. 335 with heading “N . 6”, “(Rosen blusser)”27.7x21.7 cm, 1 folio, typewritten text, music written

added (foreign hand); draft (vocal score, SA on 1 staff)

in pencil, verso blank.

ofor No. 395 with heading “N . 125”, “(Tyst som Aa)”

Paper type: ordinary paper, 1 staff (drawn in pencil).

added (foreign hand); sketch for pf.[?].

Autograph.

Verso: draft (vocal score, SA on 1 staff) for Kong Christi-

Draft without text (unison song) for No. 415, 3 type-an stod, No. 154 in Melodies for the Songbook ‘Denmark’.

written stanzas, at stanza 3 lines 5-8 “(ægte Grundt36
vigsk)” added in pencil (CN).

34 “Carl Nielsen (from pencil draft)”.
35 “For the examination”.
36 “truly Grundvigian”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 330

330

22/02/09 8:31:37

MS 33 2040

MS 33 2042

[No. 38 Ak, min Rose visner bort, No. 40 Denne er[No. 42 Der er en Bøn paa Jorden]

Dagen, som Herren har gjort!, No. 59 Har nogen Lyst

DK-Kk, CNS 104b.

at kende, No. 65 Jeg ved et lille Himmerig, No. 80

Donated to The Royal Library by Irmelin Eggert Møl-

Som den gyldne Sol frembryder]ler in 1958.

DK-Kk, CNS 101b.

19.8x25.8 cm, 1 folio, trimmed, written in ink.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: 9 staves (hand-ruled).

ler in 1958.

The source has been restored.

34.7x26 cm, 1 bifolio written in pencil.

Manuscript copy.

Paper type: 2 (12 staves).

Recto: fair copy without text (pf.) by Paul Hellmuth of

Autograph.

38
No. 42, “Venlig hilsen Deres PH.” added in ink.

On fol. 1:

Verso: incomplete fair copy of unidentiﬁed motifs byrecto: draft without text (pf.) for No. 40 with heading

Paul Hellmuth, crossed out in blue crayon.

o“N 57”, circle added at top right corner in red crayon; at the bottom of page: sketch for No. 40, bb.1-8;

MS 33 2043

verso: draft without text (pf.) for No. 38 with head-[No. 206 Kan I mærke, det lysner af solskin i sindet,oing “N 349”, circle added at top right corner in red

No. 208 Vinden er så føjelig, No. 209 Mit hjem, hvorocrayon; draft for No. 65 with heading “N 187”, circle

mine fædres fjed, No. 210 Der er en gammel rønne

added at top right corner in red crayon.

her udenfor vor by, No. 211 Om strømmen mod dig

On fol. 2:

bruser]orecto: sketch for No. 59 with title “Sangværket N

DK-Kk, CNS 105c.

37544”, text in bb. 1-10, circle added at top right cor-

Donated to The Royal Library by Irmelin Eggert Møl-

ner in red crayon;

ler in 1958.

verso: draft without text (pf.) and sketches for No.

35.5x27 cm, 1 folio written in pencil and blue crayon.

80 with heading “155”, 2 circles added at top right

Paper type: B. & H. Nr. 4.C. 7.14 (12 staves).

corner in red crayon.

The source has been restored.
Autograph.

MS 33 2041

Recto: draft without text (pf.) for No. 210 with head-[No. 205 Der dukker af disen min fædrene jord]ings “N 659” and “Der staar er en gammel Rønne”,

DK-Kk, CNS 103a.

39
at top left corner “Tillæg til F. H. MB” added (CN?),

Donated to The Royal Library by Irmelin Eggert Møl-

40
above ﬁrst bar “Med et vist Lune” added (CN); draft

ler in 1958.

without text (pf.) for No. 206 with heading “N 526”,

o

o

41

13.5x24 cm, 1 folio, trimmed, written in ink, versoin left margin “Tillæg til F. No 41” (foreign hand)blank.

and “Kan I mærke det lysner” added (foreign hand);

Paper type: 6 staves (hand-ruled).

draft without text (pf.) for No. 209 with heading “No655”; heading “Mit hjem hvor mine Fædres Fjed”

Autograph.
oPrinting manuscript (pf.) for No. 205 with heading “N

added (foreign hand).

472”, stanza 1 between staves, at top right corner “Carl

Verso: draft without text (pf.) for No. 211 with head-

Nielsen” added (foreign hand), heading “34” added ining “674”, additions in blue crayon (CN); draft with-blue crayon, compositor’s markings added in ink.
38 “Yours sincerely PH”.
39 “Supplement to F. H. MB”.
40 “With a certain humour”.
41 “Supplement to F. No 41”.

37 Reference to N.F.S. Grundtvig, Sang-Værk til den
danske Kirke, Copenhagen 1837-1841, vols. 1-2.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 331

331

22/02/09 8:31:37

oout text (pf.) for No. 208 with heading “N 626”, in
42

Vers / Copyright 1924 by WH Copenh. / Udgives 2 Junit47left margin “Vinden er saa føjelig / Tillæg 58” added/ 18.476 [Pl. No.] 1 side 8 Plade” added in pencil

in pencil (foreign hand) and “6” added in blue crayon(compositor).

(foreign hand).
MS 33 2045
MS 33 2044

[No. 329 Der er et yndigt Land][No. 262 Der er et yndigt Land (pf.), No. 307 Der er et

DK-Kk, CNS 289d.

yndigt Land, No. 329 Der er et yndigt Land]

Donated to The Royal Library by Rudolf Grytter in 1965.

DK-Kk, CNS 289f.

12.2x25.7 cm, 1 folio, trimmed, written in ink, verso

Donated to The Royal Library by Irmelin Eggert Møl-blank.

ler and Anne Marie Telmányi in 1953.

Paper type: 4 staves (hand-ruled).

34.5x25.8 cm, 3 folios written in ink, recto of folios

The source has been restored.

paginated 1-3 in mauve crayon, verso of folios blank.

Autograph.

Paper type: fol. 1: 12 staves (hand-ruled).

Fair copy without text (vocal score, TTBB on 2 staves)fol. 2: 16 staves (hand-ruled).

of No. 329 with heading “Der er et yndigt Land”.

fol. 3: 12 staves (hand-ruled).
Autograph.

MS 33 2046

On fol. 1: printing manuscript (pf.) for No. 262 with48
[No. 262 Der er et yndigt Land, No. 399 Danmark,heading “Der er et yndigt Land. / for / Pianoforte og

nu blunder den lyse Nat]en Sangstemme”, stanza 1 between staves, at top

DK-Kk, CNS 289g.

right corner “Færdig 20/5 24 / Korr. Udlaant til / Mer-

Donated to The Royal Library by Irmelin Eggert Møl-

43
rild” added in pencil (compositor), at bottom rightler in 1958.

corner “3 Vers som i / Danmarks Melodibg. / Udgives

28.5x26 cm, 1 folio, trimmed, written in ink and pencil.

44
2den Juni” added in pencil (compositor), at bottom

Paper type: 10 staves (hand-ruled).

of page “Copyright 1924 by WH. Copenhagen / Peters

Partly autograph.

/ 18.475 [Pl. No.]” added in pencil (compositor).

Recto: fair copy (pf.) of early version for Der er et yndigt

On fol. 2: printing manuscript (vocal score, SATTB on

Land, stanzas 1-2 added between staves and stanza 3

4 staves) for No. 307 with heading “Der er et yndigt

below ﬁnal system in pencil (foreign hand).

Land. / for femstemmigt blandet Kor / (Sopran, Alt,

Verso: draft without text (vocal score, SA on 1 staff)

Tenor I, Tenor II og Bas.)”, stanza 1 added below T2,

for No. 399.

at top left corner “Til Brug for Dansk Kor Forenings:
45
46
Bibliotek.”, at bottom right corner “3 Vers”, andMS 33 2047

at bottom of page “Copyright 1924 by WH / 18.474 [Pl.

[No. 262 Der er et yndigt Land]

No.] 8t 2 Pl” added in pencil.

DK-Kk, CNS 289h.

On fol. 3: printing manuscript (vocal score, TTBB on

Donated to The Royal Library by Margrete Rosenberg

2 staves) for No. 329 with heading “Der er et yndigt

in 1935.

Land. / for Mandsstemmer / (Tenor I Ten II Bas I Bas

11.2x25.8 cm, 1 folio, trimmed, written in pencil,II)”, stanza 1 between staves, below ﬁnal system “3verso blank.
Paper type: 5 staves (hand-ruled).

42 “Vinden er saa føjelig / Supplement 58”.
43 “Finished 20/5 24 / Proofs lent to / Merrild”.
44 “3 stanzas as in / Danmarks Melodibg. / To be
published 2 June”.
45 “To be used by Dansk Kor Forenings: Bibliotek.”
46 “3 stanzas”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 332

The source has been restored.
47 “3 stanzas / Copyright 1924 by WH Copenh. / Tobe published on 2 June / 18.476 [Pl. No.] 1 pagevo
8 Plate”.
48 Not in the present edition.

332

22/02/09 8:31:37

Autograph.

“Gades Melodi” and “Danmark” added in pencil

Draft (pf.) for No. 262 with heading “Der er et yndigt(Irmelin Eggert Møller), and “149” added in ink (for-Land”, stanza 1 between staves, below music “Mangeeign hand).

49

Hilsener fra os alle” added in pencil (CN).
MS 33 2050
MS 33 2048

[No. 262 Der er et yndigt Land, No. 291 Der er et yn-[No. 262 Der er et yndigt Land]

digt Land, No. 307 Der er et yndigt Land, No. 308 Der

DK-Kk, CNS 289i.

er et yndigt Land, No. 329 Der er et yndigt Land, No.

c. 17.5x26 cm, 1 folio, trimmed, written in pencil,

334 Der er et yndigt Land, No. 394 Der er et yndigt

verso blank.

Land]

Paper type: 6 staves (hand-ruled).

DK-Kk, CNS 289l.

The source has been restored.

21.6x14.4 cm, 1 folio written in ink, verso: ofﬁcial

Autograph.

letter.

Draft (pf.) for No. 262 with heading “Der er et yndigt

Paper type: recto: 2 hand-ruled staves; verso: ofﬁcial

Land”, stanza 1 between staves.

letter from “Den nye Laanekasse”.

54

55

Autograph.
MS 33 2049

Sketch (unison song), early version for Der er et yndigt[No. 261 Det vi véd, at siden slangens gift, No. 353

Land in C major.

Nu Sol i Øst oprinder mild, No. 262 Der er et yndigt
50
Land ]MS 33 2051

DK-Kk, CNS 289k.

[No. 277 Der gaar et stille tog]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 107a.

ler in 1958.

Donated to The Royal Library by Irmelin Eggert Møl-

34.8x25.8 cm, 1 folio written in pencil.

ler in 1958.

Paper type: 12 staves (hand-ruled).

c. 12.5x35 cm, 1 folio, trimmed, written in ink, verso

The source has been restored.

blank.

Autograph.

Paper type: 5 staves (hand-ruled).

Recto: unﬁnished version on 2 systems with heading
die“Der er et yndigt Land 3

Vers”, in E major for voice

The source has been restored.
Autograph.

51
and strings; draft (vocal score, SSA on 2 staves) for

Fair copy (pf.) of No. 277, stanza 1 between staves,

No. 353; draft (pf.) for No. 261, text fragment above

below the music additions in pencil (foreign hand):52
system, “utrykt” added in pencil (Irmelin Eggert“Skrevet 1929 / ikke trykt fordi Prosodien var fundetoMøller) and heading “(ny) Højskolesangbogen N

ikke passende til Mel.”56

53

115” added in ink (CN), below ﬁnal system “No 775.”
added in ink (foreign hand).

4

Verso: sketch for 2 parts in 4 without key signature;sketch with heading “Allegretto quasi andantino”,

2

for 1 part in 4 in G major; draft (vocal score, SSA on
2 staves) for Niels W. Gade’s På Sjølunds Fagre Sletter,

MS 33 2052
[No. 284 Det är höst]
DK-Kk, CNS 113a.
Donated to The Royal Library by Irmelin Eggert Møller in 1958.

49 “Best wishes from all of us”.
50 Not in the present edition.
51 See Preface pp. 97-100 and facsimile p. 162.
52 “unpublished”.
53 “(new) Højskolesangbogen No. 115”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 333

54 Not in the present edition.
55 “The New Loan Fund”, name of a bank.
56 “Written in 1929 / unpublished because theprosody was considered inappropriate for the
melody.”333

22/02/09 8:31:38

34.7x26cm, 2 bifolios in one gathering, fol. 2 paginatv

r

r

v

ed 2-3, fols. 1 -3 written in ink, fols. 1 and 4 writtenvro

Recto: fair copy (pf.) of No. 44 with heading “N 3”,
stanza 1 above top staff, melody and stanzas writ-in pencil and blue crayon, fols. 3 -4 blank.

ten in pencil by CN, harmonisation in ink by Paul

Paper type: 12 staves (hand-ruled).

Hellmuth, corrections in pencil by CN, at end of ﬁrst

The source has been restored.

system circle added in red crayon, at bottom of page

Autograph.

“Hilsen PH.” added in ink (Paul Hellmuth).

57r

Title page, fol. 1 : “Det är höst” written in blue

Verso: “Hvad synes De om den, som De paa en Maade

crayon.

er Fader til, da jeg ﬁk fornyet Lyst efter Deres Besøg. /v

r

On fols. 1 -3 : fair copy (voice, pf.) of No. 284 with ad-

58
Hilsen / Deres C.N.” written in pencil (CN).

ditions in pencil.
rv

On fols. 1 and 4 : sketches for Cupid and the PoetMS 33 2055

added in pencil (for a complete description, see[No. 44 Det er et Under paa Verdens Ø]

CNU I/9, p. 294).

DK-Kk, CNS 110b.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2053

ler in 1958.

[No. 316 Længsel (I hvor jeg end slaar Øiet hen),

23.5x26.3 cm, 1 folio, trimmed, recto written in ink,

No. 317 Det bødes der for i lange Aar]verso written in pencil.

DK-Kk, CNS 290.

Paper type: 11 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Manuscript copy.

34.6x26.1 cm, 1 folio written in ink.

Recto: fair copy without text (pf.) by Paul Hellmuth

Paper type: 14 staves (hand-ruled).

of No. 44.

The source has been restored.

Verso: music theory exercise (in foreign hand).

Autograph.
Dating: “4/12 87”.

MS 33 2056

Recto: fair copy (vocal score, TTBB on 4 staves) of[No. 45 Det koster ej for megen Strid, No. 75 O Kriste-

No. 317 with heading “Det bødes der for i lange Aar”,

lighed!]text below top staff, few additions in pencil (CN).

DK-Kk, CNS 111b.

Verso: fair copy (vocal score, TTBB on 4 staves) of No.

Donated to The Royal Library by Irmelin Eggert Møl-

316 with heading “Længsel”, text below top staff, few

ler in 1958.

corrections and additions in pencil (CN).

35.3x27 cm, 1 folio, recto written in ink, verso written in pencil.

MS 33 2054

Paper type: 10 staves (hand-ruled).

[No. 44 Det er et Under paa Verdens Ø]

The source has been restored.

DK-Kk, CNS 110c.

Autograph.

Donated to The Royal Library by Irmelin Eggert Møl-

Recto: fair copy without text (pf.) of No. 45 withler in 1958.

heading “Det koster ej formegen Strid”.

12.5x25.8 cm, 1 folio, trimmed, written in pencil andVerso: draft without text (pf.) for No. 75 with headingink.

“614. O Kristelighed!”; ﬁnal system: sketch corre-

Paper type: 4 staves (hand-ruled ?).

sponding to the ﬁnal 3 bars of No. 75.

The source has been restored.
Partly autograph.

57 “Best wishes PH”.
58 “What do you think about it; in a way you areits father, since after your visit I felt a new
inspiration. /Yours sincerely / C.N.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 334

334

22/02/09 8:31:38

MS 33 2057

35.2x27 cm, 1 folio, recto written in ink, verso writ-[No. 46 Dig vil jeg elske, du min Styrke]

ten in pencil.

DK-Kk, CNS 114b.

Paper type: 10 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

Partly autograph.

ler in 1958.

Recto: fair copy, autograph without text (pf.) of No.

12.7x23.5 cm, 1 folio, trimmed, written in ink.

47 with heading “N 258 Drag Jesus, mig.”, no harmo-

Paper type: 4 staves (hand-ruled).

nisation; fair copy without text (pf.) of No. 75 with

The source has been restored.

heading “N 614. O, Kristelighed!”, melody written byPartly autograph.

CN, harmonisation by Paul Hellmuth, additions in

Recto: fair copy without text (pf.) of No. 46 withpencil, red and blue crayon.

o

o

o

heading “N 666 Dig vil jeg elske”, melody written

Verso: sketch (unison song on 2 staves) for No. 420

by CN, harmonisation by Paul Hellmuth, at top rightwith heading “611”, staff 2 empty, not identical withcorner circle added in red crayon, below ﬁnal bar:

No. 56; draft, autograph without text (pf.) for No.

59o“Hilsen Deres PH.”56 with heading “N 611”, above ﬁrst system circle

Verso: “Kære Hellmuth! / Det var dog kedeligt, De

added in red crayon.

ikke kommer til Schierbeck iaften paa Grund af
Sygdom. Pas nu paa med hvad De spiser og drik-

MS 33 2060

ker! God Bedring! / Deres hengivne / Carl Nielsen”[No. 45 Det koster ej for megen Strid, No. 47 Drag,

(CN).

60

Jesus, mig, No. 75 O Kristelighed!]
DK-Kk, CNS 115c.

MS 33 2058

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 46 Dig vil jeg elske, du min Styrke]

ler in 1958.

DK-Kk, CNS 114c.

35.3x27 cm, 1 folio written in pencil.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: B. & H. Nr.19.A. / 1. 12. (10 staves).

ler in 1958.

The source has been restored.

34.6x26 cm, 1 folio written in pencil, verso blank.

Autograph.

Paper type: 12 staves (hand-ruled).

Recto: draft without text for (pf.) No. 47 with heading

Autograph.

“258”; draft without text for (pf.) No. 75 with headooDraft without text (pf.) for No. 46 with heading “N

ing “N 614”, no harmonisation.

666”, text fragment.

Verso: sketch for No. 45; draft for No. 45 withoutotext (pf.) with heading “N 572”, no harmonisation;
sketch for No. 45.

MS 33 2059
[No. 47 Drag, Jesus, mig, No. 56 Guds Fred er mer
end Englevagt, No. 75 O, Kristelighed!, No. 420 Guds

MS 33 2061

Fred er mer end Englevagt][No. 47 Drag, Jesus, mig]

DK-Kk, CNS 115d.

DK-Kk, CNS 115b.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler in 1958.

ler in 1958.
15.9x26 cm, 1 folio, trimmed, written in ink, verso
59 “Greetings from PH”.
60 “Dear Hellmuth! / What a pity that you cannot
come to Schierbeck tonight because of illness.
Be careful about what you eat and drink! I hope
you will be better soon! / Yours sincerely / Carl
Nielsen”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 335

blank.
Paper type: 7 staves (hand-ruled).
The source has been restored.

335

22/02/09 8:31:38

Manuscript copy.

Donated to The Royal Library by Irmelin Eggert Møl-

Fair copy (Paul Hellmuth) without text (pf.) of No. 47
oler and Anne Marie Telmányi in 1953.

with heading “Drag Jesus mig.”, “N 258” added in

35.4x26.6 cm, 1 bifolio written in ink, in green li-

pencil (CN), “Nu er den god, synes jeg. / Hilsen Deres

brary binding.

61

heng. / PH.” added in ink (Paul Hellmuth), above top

Paper type: 12 staves (hand-ruled).

system circle added in red crayon.

The source has been restored.
Autograph.

MS 33 2062

Title page: “Trestemmigt Børnekor / af Carl Nielsen /[No. 340 Du gav os de Blomster, som lyste imod os]

Til Frk: Margrethe Rosenberg med fuldstændig / Ejen-

DK-Kk, CNS 116a.

domsret ved Opførelse og Udgivelse / Kjøbenhavn den

Donated to The Royal Library by Irmelin Eggert Møl-

63
4/12 99”, compositor’s markings added in pencil.

ler in 1958.

Title on ﬁrst music page: “Trestemmig Børnekor / Ed-

13.5x27.5 cm, 1 folio, trimmed, written in ink, verso

derkoppens Sang af ‘Aladdin’”, “for 3 lige Stemmer”

blank.

added in pencil (foreign hand).

Paper type: 4 staves (hand-ruled).

Printing manuscript (vocal score, SSA on 3 staves)

Autograph.

for No. 384 with text below top staff, compositor’s

Fair copy (vocal score, SSA on 2 staves) of No. 340
o

64

v

markings added in blue and red crayon; on fol. 2

with heading “N . 28”, text fragment, S2, A added

sketch for Cantata for the Annual Commemoration of the(Paul Hellmuth ?).

University with text fragments.

MS 33 2063

MS 33 2065

[No. 48 Dybt hælder Aaret i sin Gang, No. 77 Op, I[No. 384 Edderkoppens Sang af “Aladdin” (Betragt

Kristne, ruster eder!]mit svage Spind)]

DK-Kk, CNS 117b.

DK-Kk, CNS 291b.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler in 1958.

ler in 1958.

11.9x25.8 cm, 1 folio, trimmed, written in ink.

34.5x25.8 cm, 1 folio written in pencil, verso blank.

Paper type: 4 staves (hand-ruled).

Paper type: 12 staves (hand-ruled).

The source has been restored.

The source has been restored.

Manuscript copy.

Autograph.

Recto: fair copy (Paul Hellmuth) without text (pf.) ofoNo. 48, heading “N 298” added (CN); “Er den bedre?

Draft (vocal score, SSA on 2 staves) for No. 384 withtext between staves.

62

Jeg synes det ikke. Deres / PH” added (Paul Hellmuth).
Verso: fair copy (Paul Hellmuth) without text (unison

MS 33 2066

song on 2 staves) of No. 77, staff 2 empty.

[No. 12 Erindringens Sø (Træd stille, min Veninde)]
DK-Kk, CNS 118b.

MS 33 2064

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 384 Edderkoppens Sang af “Aladdin” (Betragt

ler in 1958.

mit svage Spind)]
DK-Kk, CNS 291a.

63 “Three part children’s chorus / by Carl Nielsen/ To Miss: Margrethe Rosenberg with complete /proprietary rights for performance and publication / Copenhagen 4/12 99”.
64 “for 3 equal voices”.

61 “Now it is ﬁne, I think. / Best wishes yours
sincerely. / PH.”
62 “Is it better? I don’t think so. Yours / PH”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 336

336

22/02/09 8:31:38

35x26.5 cm, 2 folios written in ink, ﬁrst page blank.

24.8x26 cm, 1 folio, recto written in pencil, verso

Paper type: 12 staves (hand-ruled).

written in ink.

The source has been restored.

Paper type: 12 staves (hand-ruled).

Autograph.

The source has been restored.

Title on ﬁrst music page: “Erindringens Sø”.

Autograph.

Fair copy without text (voice, pf.) of No. 12 in B  major, on ﬁnal page “Allegretto” added in pencil.

Recto: draft without text (pf.) for Nos. 234 and 235
with headings “33 Est du modfalden kære Ven” and“551. Som Dug paa slagne Enge”, respectively.

MS 33 2067

Verso: manuscript copy (voice, pf.) of Thomas Laub’s[No. 12 Erindringens Sø (Træd stille, min Veninde), No.

“Saa drager du ad fremmed land” from A Score of Dan-

13 Sommersang (Fyldt med Blomster blusser Æbletræ-ish Songs, 1915.

ets Gren), No. 16 Hilsen (Den dovne Fjord som gynger)]
DK-Kk, CNS 118a.

MS 33 2069

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 234 Est du modfalden, kære Ven]

ler in 1958.

DK-Kk, CNS 119c.

34.7x26.5 cm, 1 bifolio written in pencil.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: 20 staves (hand-ruled).

ler in 1958.

Autograph.

c. 14.5x34.5 cm, 1 folio, trimmed, written in pencil,

On fol. 1:

verso blank.

recto: sketch for No. 12, text fragment;

Paper type: 5 staves (hand-ruled).

verso: sketch for No. 13, text fragments.

The source has been restored.

On fol. 2:

Autograph.

recto: sketch for the last 4 bars of No. 12; sketch for an

Draft without text for No. 234.

stede“Hilsen 1 Vers Dur 2 Vers Mol derpaa følgende: /MS 33 2070

Farvel Du lille Damper som piler mig forbi / Og hils[No. 234 Est du modfalden, kære Ven]den blonde Dame som venter Dig paa Molen ! / Og sig

DK-Kk, CNS 119a.

at hendes Øjne forfølger mig bestandig / Sig dem, at

Donated to The Royal Library by Irmelin Eggert Møl-

3

unidentiﬁed piano piece in A major, 4 ; upside down:

jeg kysser dem tit i mine Drømme / i Dur”;

65

verso: sketch for No. 16, bb. 2-26, text fragments.

ler in 1958.
c. 5x34.5 cm, 1 folio, trimmed, written in ink.
Paper type: 2 staves.

MS 33 2068

The source has been restored.

[No. 234 Est du modfalden, kære Ven, No. 235 Som

Autograph.

Dug paa slagne Enge]

Recto: fair copy without text (pf.) of No. 234 (melody

DK-Kk, CNS 119b.

written by CN, harmonisation by Paul Hellmuth)

Donated to The Royal Library by Irmelin Eggert Møl-

with heading “Est du modfalden, kære Ven”. Afterler in 1958.

the last bar: “Kære CN. Tak for Melodien; den er køn,
66

trods Akkordbevægelsen i 3. Takt”.
65 “Hilsen ﬁrst stanza major second stanza minor
then the following: / Farvel Du lille Damper som
piler mig forbi / Og hils den blonde Dame somventer Dig paa Molen ! / Og sig at hendes Øjneforfølger mig bestandig / Sig dem, at jeg kysser
dem tit i mine Drømme / in major”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 337

Verso: three different harmonisations (Paul Hellmuth) of bb. 1-3.
66 “Dear CN. Thank you for the song; it is pretty, inspite of the chord progression in b. 3”.

337

22/02/09 8:31:39

MS 33 2071
[Fader Vor]Fair copy (Paul Hellmuth) without text of No. 52

67

with heading “No 59.”, after ﬁnal bar “NB. Er det ikke
69
bedre? Hilsen Deres PH.”, at top right corner circle

DK-Kk, CNS 121.
r

34.5x26 cm, 1 bifolio written in pencil, fol. 2 blank.

added in red crayon.

Paper type: 18 staves (hand-ruled?).
Autograph.

MS 33 2074

On fol. 1:[No. 278 Fremtidens Land!]recto: sketch (voice, pf.), unﬁnished song, with head-

DK-Kk, CNS 127.

ing “Fader Vor”, text fragments.

Donated to The Royal Library by Harald Balslev inverso: sketch for an unidentiﬁed piece for piano.

1935.

On fol. 2:

c. 13x35 cm, 1 folio, trimmed, written in ink.

Verso: sketch (voice, pf.) for Fader Vor between bb. 4

Paper type: 5 staves.

and 5; sketch on 1 staff for an unidentiﬁed piece.

Autograph.
Dating: “28-11-29”.

MS 33 2072

Recto: fair copy (pf.) of No. 278, stanza 1 between[No. 50 Forunderligt at sige]

staves, G major.

DK-Kk¸ CNS 124b.

Verso: outline of “Den danske Sang” for male chorus.

Donated to The Royal Library by Alfred P. Hartmann
in 1965.

MS 33 2075

34.6x26 cm, 1 folio written in ink, verso blank.

[No. 53 Frisk op! endnu en Gang]

Paper type: 12 staves (hand-ruled).

DK-Kk, CNS 129b.

Autograph.

Acquired by The Royal Library from Erik H. Jung inTitle on ﬁrst music page: “3”, “Forunderligt at tænke

1944.

og sært af mindes paa” added (foreign hand).

34.2x26.5 cm, 1 folio, recto written in ink, verso

Fair copy (pf. or SATB) without text of No. 50, at top

blank, in brown covers.

right corner “C.N.” added in pencil (CN), below ﬁnal

Paper type: B. & H. Nr. 18. A. / 1. 12. (10 staves).

system “1 p, Repr mf / 2 mp / 3. mp / 4. mp (espr” added in

The source has been restored.

blue crayon (foreign hand), “1./ 2. Selv Spurven har sin

Autograph.

/ 3. Sidste Vers.” added in pencil (foreign hand), “Ons Kl

Recto: fair copy of No. 53 (pf.), stanza 1 between staves.

686” (foreign hand) and “Forunderligt at tænke og særtaf mindes paa” added in pencil (Irmelin Eggert Møller).

MS 33 2076
[No. 224 Du danske Mand! af al din Magt]

MS 33 2073

DK-Kk, CNS 130a.

[No. 52 Fred og Glæde, for dem græde]Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 126b.

ler and Anne Marie Telmányi in 1953.

Donated to The Royal Library by Irmelin Eggert Møl-

34.5x26.5 cm, 1 bifolio, fol. 1 and fol. 2 paginated 1

ler in 1958.

and 2, respectively, verso pages unpaginated; written

11x26 cm, 1 folio, trimmed, written in ink, verso

in ink, in library binding.

blank.

Paper type: Protokoll.Schutzmarke N 2 12 linig. (12Manuscript copy.

staves).

rroAutograph.
67 Not in the present edition.
68 “Wednesday at 6 o’clock”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 338

69 “NB. Isn’t this better? Yours sincerely PH.”338

22/02/09 8:31:39

Title page: “Fædrelandssang / af Holger Drachmann

in C major; sketch written in pencil for an unidenti-/ componeret for en Sangstemme og Pianoforte / af /ﬁed piece.

Carl Nielsen.” At top right corner “Kor. til Komponi70

sten / do – Forfatteren” and at bottom “13.869 / 2 Pl”

MS 33 2079

added in pencil (compositor’s markings).

[No. 167 Du danske mand! af al din magt, No. 224

Printing manuscript (voice, pf.) for No. 224 withFædrelandssang (Du danske Mand! af al din Magt),

heading “Fædrelandssang”, in G major, stanza 1 be-

No. 300 Fædrelandssang (Du danske Mand! af al din

low voice, stanzas 2-3 written below ﬁnal system, ad-Magt), No. 320 Fædrelandssang (Du danske Mand! af

ditions and corrections in pencil (CN), compositor’s

al din Magt), No. 391 Du danske mand! af al din magt]

markings added in pencil.

DK-Kk, CNS 130d.
Acquired by The Royal Library from the estate of Hen-MS 33 2077

rik Knudsen in 1947.

[No. 320 Du danske Mand! af al din Magt]

33x21 cm, 1 bifolio written in pencil, fols. 1 and 2

DK-Kk, CNS 130c.

blank, in library binding.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: plain paper, 1 staff (drawn in pencil).

ler and Anne Marie Telmányi in 1953.

Autograph.

35x26.5 cm, 1 bifolio paginated 1-2, title page unpagi-

Draft (unison song) for Nos. 167, 224, 300, 320, 391.

r

v

v

nated, fol. 2 blank; written in ink, in library binding.
Paper type: B. & H. Nr.2.E (14 staves).

MS 33 2081

Autograph.

[No. 219a Den gamle Skovvei huer mig vel, No. 219b

Title page: “Fædrelandssang / af / Holger Drachmann

Den gamle Skovvei huer mig vel]

/ Musik af / Carl Nielsen. / (Mandskor)”, at bottom

DK-Kk, CNS 94a.

“13,898. / 5-8 [?]” added in pencil.

26x34.5 cm, 1 folio written in pencil, red and blue

Printing manuscript (vocal score, TTBB on 2 staves)for No. 320, in B major, stanza 1 between staves,crayon.

denbelow ﬁnal system “2og 3die Vers (se Udgaven for

Paper type: 12 staves (hand-ruled).
The source has been restored.

71
Sang og Piano!)” added (CN), compositor’s markings

Autograph.

added in pencil, blue and red crayon.

Recto: draft (voice, pf.) for No. 219b (C major version),stanza 1 above voice, corrections in blue and red

MS 33 2078

crayon (foreign hand); exercises in counterpoint.

[No. 300 Du danske Mand! af al din Magt]
DK-Kk, CNS 130b.

Verso: harmony exercises; draft (voice, pf.) for No.
219a (A major version), stanza 1 above voice, correc-

Donated to The Royal Library by Irmelin Eggert Møl-

tions in blue and red crayon (foreign hand).

ler in 1958.
26x34.8 cm, 1 bifolio written in ink and pencil, fols.
rv

MS 33 2082

1 and 2 blank.

[No. 219a Den gamle Skovvei huer mig vel]

Paper type: 12 staves (hand-ruled).

DK-Kk, CNS 94b.

Autograph.

26x35 cm, 1 folio written in pencil, red and blue

Fair copy without text (vocal score, SATB on 4 staves)crayon.

of No. 300, bb. 1-14, with heading “Fædrelandssang”,

Paper type: 12 staves (hand-ruled).
The source has been restored.

70 “Proofs for the composer / ditto – the author”.
71 “Second and third stanzas (see the version forvoice and piano!)”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 339

Autograph.

339

22/02/09 8:31:39

Recto: draft (voice, pf.) for No. 219a (A major version),

Donated to The Royal Library by Irmelin Eggert Møl-

stanza 1 below voice, corrections in blue and red

ler in 1958.

crayon (foreign hand).

17x27.1 cm, 1 folio, trimmed, written in pencil.

Verso: exercises in counterpoint, corrections in blue

Paper type: 6 staves (hand-ruled).

and red crayon (foreign hand).

Autograph.
Recto: draft (pf.) for No. 286, text fragments between

MS 33 2083

staves, at bottom right corner “Paludan-Møller H sk.

[No. 6 Genrebillede (Pagen højt paa Taarnet sad),

Sbj. [?]” added in pencil (Irmelin Eggert Møller ?), few

No. 8 Silkesko over gylden Læst!]corrections in ink (CN).

DK-Kk, CNS 131a.

Verso: draft (vocal score, SA on 2 staves) for No. 381

Donated to The Royal Library by Irmelin Eggert Møl-

with text below staves with heading “Kanon Job: V

ler in 1958.

73
22” (CN?), “Trykt i Kanon” added in pencil (Irmelin34.6x26 cm, 1 bifolio written in pencil.

Eggert Møller), one correction in ink (CN).

Paper type: 16 staves (hand-ruled).
The source has been restored.

MS 33 2086

Autograph.

[No. 54 Glæden hun er født i Dag]

On fol. 1:

DK-Kk, CNS 133b.

recto to verso, staff 9: part of a draft (voice, pf.) andDonated to The Royal Library by Irmelin Eggert Møl-sketch for No. 6;

ler in 1958.

verso, staves 12-16: sketch for No. 8, bb. 37-46.

17.7x27 cm, 1 folio, trimmed, written in ink.

On fol. 2:

Paper type: 12 staves.

recto: sketch for No. 8, bb. 3-11 and 8 bars not used;

Partly autograph.

verso: draft (voice, pf.) for No. 8, bb. 10-36.

Recto: fair copy of No. 54 (pf.), melody written by CN,

Few additions in ink.

harmonisation by Paul Hellmuth, above ﬁrst system:

374“Det er maaske bedre at notere 2 ? Hilsen!” added inpencil (CN), ﬁrst stanza added below ﬁnal system in

MS 33 2084
[No. 6 Genrebillede (Pagen højt paa Taarnet sad)]

72

DK-Kk, CNS 131c.

ink; at top right corner circle added in red crayon.
Verso: last 5 lines of stanza 4 added in ink (CN).

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 33 2087

35.2x27.5 cm, 1 folio written in ink.

[No. 25 Husvild (Gi Husly til to Persowner), No. 26

Paper type: “12 system” (12 staves).

Godnat (No wil a sej Jer Godnæt)]The source has been restored.

DK-Kk, CNS 134b.

Manuscript copy.

Donated to The Royal Library by Irmelin Eggert Møl-

Orchestral part (cl.2 (B )), unﬁnished version.

ler in 1958.
rv

35.5x27 cm, 1 bifolio, paginated 1-4; fols. 1 , 2 writvr

MS 33 2085

ten in pencil, fols. 1 , 2 blank.

[No. 286 Gensyn (Hvor blev den Blomst, som fyldte),

Paper type: B.&H: Nr. 14. A. (24 staves).

No. 381 Du skal le ad Ødelæggelse]

Autograph.

DK-Kk, CNS 132a.
73 “Printed in the collection of canons”.
3
74 “Perhaps it would be better to notate it in 2 ?
Best wishes!”

72 Not in the present edition.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 340

340

22/02/09 8:31:40

er

On fol. 1: draft (voice, pf.) for No. 26 with title

jo godt lade nogle Baryton synge Understemmen“Godnat”.

med Alten, men saa maa den holde op saaledes:” ;On fol. 2: draft (voice, pf.) for No. 25 with title

fair copy (vocal score, A, Bar.) of No. 348, stanza 1“Husvild”.

between staves.

MS 33 2088

MS 33 2091

[No. 383 Græshoppen (Græshoppen sidder paa Engen)][No. 56 Guds Fred er mer end Englevagt]

DK-Kk, CNS 295.

DK-Kk, CNS 138b.

19.3x34.5 cm, 1 folio, trimmed, written in pencil.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: 12 staves (hand-ruled).

ler in 1958.

The source has been restored.

15.8x27 cm, 1 folio, trimmed, written in pencil and ink.

76

Paper type: B. & H. Nr. 18. A. / 1. 12. (4 staves).

Partly autograph.
o

Recto: music theory exercises with heading “N 44”oPartly autograph.

and “N 43” (in foreign hand); autograph: sketch (vo-

Recto: draft for No. 56 without text (pf.) with head-cal score, SA on 2 staves) for No. 383 with text frag-ing “N 611 / Guds Fred er mer end Englevagt - - - - ”,

ment in G major.

melody written by CN in pencil, harmonisation by

Verso: counterpoint exercises (in foreign hand).

Paul Hellmuth in ink, heading added in pencil (CN),otext fragment in last 2 bars, above ﬁrst system circle
MS 33 2089

added in red crayon.

[No. 188 Grøn er Vaarens Hæk]Verso: “Jeg længes efter at se Dem en Dag snart.

DK-Kk, CNS 135a.

De tre der blev sungen i Frue Kirke var nogle af deDonated to The Royal Library by Irmelin Eggert Møl-

allerførste i min egen Udsættelse; ellers havde De

ler in 1958.

[‘De’ added in blue crayon] hørt fra mig. Hilsen Deres

34.9x26 cm, 1 folio written in ink, verso blank.

77
C.N.” added in pencil (CN).

Paper type: 12 staves (hand-ruled).
The source has been restored.

MS 33 2092

Autograph.

[No. 272 Guldﬂoden (Der strømmer en Flod mod det

Fair copy (voice, pf.) of No. 188 with heading “Grønevige Hav)]

er Vaarens Hæk”, stanza 1 below voice, correction in

DK-Kk, CNS 139a.

pencil (CN).

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 33 2090

14.5x26 cm, 1 folio, trimmed, written in ink and[No. 348 Grøn er Vaarens Hæk]pencil, verso blank.

DK-Kk, CNS 135c.

Paper type: 4 staves (hand-ruled).

Donated to The Royal Library by Hakon Andersen in

The source has been restored.

1935.

Autograph.

10.2x25 cm, 1 folio written in ink.
Paper type: 5 staves (hand-ruled).

76 “Dear Mr. H.A.! You may let some of the baritons
sing the lower part with the altos, but if so, it
must end like this:”.
77 “I am looking forward to seeing you one day
soon. The three that were sung in Frue Kirke
were some of the ﬁrst in my own arrangement.
Otherwise you [‘you’ in blue crayon] would haveheard from me. Best wishes C.N.”.

Autograph.
Fair copy (vocal score, SSA on 2 staves) of No. 348,
75
text incomplete, verso “Kære Hr. H. A. ! De kan

75 Hakon Andersen.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 341

341

22/02/09 8:31:40

Fair copy (pf.) of No. 272 with heading “Guldﬂoden

MS 33 2095

(Ingemann)” added in pencil (foreign hand), stanza[No. 58 Har Haand du lagt paa Herrens Plov, No. 82

1 between staves, below the music “Skrevet 1928”

78

added in pencil (foreign hand).

Uforsagt, hvordan min Lykke]
DK-Kk, CNS 141b.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2093

ler in 1958.

[No. 272 Guldﬂoden (Der strømmer en Flod mod det

34.6x26 cm, 1 folio written in pencil and ink, verso

evige Hav)]

blank.

DK-Kk, CNS 139b.

Paper type: 2 (12 staves).

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Draft (pf.) for No. 58 with heading “N 519 Har Haand25.5x17.2 cm, 1 folio written in ink, verso blank.

Du lagt”, melody written by CN in pencil, harmonisa-

Paper type: 10 staves.

tion by Paul Hellmuth in ink, heading added in pencil

The source has been restored.

(CN); clefs, key signature, time signature written in

Autograph.

pencil, above ﬁrst system circle added in red crayon.

Draft (pf.) for No. 272, beginning of stanza 1 between

Draft (pf.) for No. 82, heading “N 600 Uforsagt” added

staves. Below music “Højskolesangbog No. 157”

in pencil (CN), melody written by CN in pencil, harmo-

added (CN); “157” has been changed to “121” in pen-nisation by Paul Hellmuth in ink, title added in pencil

cil (foreign hand).

(CN); clefs, key signature, time signature written inoopencil, above ﬁrst system circle added in red crayon,
MS 33 2094

below ﬁnal system “Venlig hilsen og tak for sidst. /[No. 4 Irmelin Rose (Se, der var en Gang en Konge),

79
Deres hengivne PH.” added in ink by Paul Hellmuth.

No. 5 Har Dagen sanket al sin Sorg, No. 222 I Drømmenes Land (Det er herligt at leve i Drømmenes

MS 33 2096

Land)][No. 416 Har I nu Tænder i Riven sat]

DK-Kk, CNS 140.

DK-Kk, CNS 142a.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler in 1958.

ler in 1958.

33.7x25.8 cm, 1 bifolio written in pencil and ink.

22.4x17.7 cm, 1 folio written in ink and pencil.

Paper type: 12 staves (hand-ruled).

Paper type: ordinary paper, 1 staff (drawn in pencil).

The source has been restored.

Partly autograph.

Autograph.

Sketch without text (unison song) for No. 416 written

On fol. 1:

3v r
recto: sketch in 4 in E minor; fols. 1 -2 : draft without

in pencil (CN), 3 stanzas for No. 416 with heading

text (voice, pf.) and sketches for No. 5.

tom left corner “Morgen for Slaget / 7 Febr. 1910 /On fol. 2:

Den Sommer og den Eng / 1910”.

“339” written in ink, signed “Jeppe Aakjær”, at bot-recto: sketch for No. 4;
verso: 10 bars of an incomplete fair copy of No. 222

12

in 8 without key signature.

MS 33 2097
[No. 59 Har nogen Lyst at kende]
DK-Kk, CNS 143c.

78 “Written in 1928”.

79 “Best wishes and thanks. / It was good to seeyou. / Yours sincerely PH.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 342

342

22/02/09 8:31:40

Donated to The Royal Library by Irmelin Eggert Møl-

tions added in pencil and red crayon (CN); sketch forler in 1958.

No. 73, bb. 9-14, text fragments, circle added in red

34.6x25.8 cm, 1 folio, recto written in pencil, verso

crayon above system.

written in ink.

On fol. 2:

Paper type: 12 staves.

recto: sketch for No. 73 with heading “Salmebog

Partly autograph.

591”, circle added in red crayon above system;

Recto: draft for No. 59, with title “Nytaarssalme”,

verso: draft (pf.) and sketch for No. 77 with heading

written by CN in pencil, bb. 4-15 without harmonisa-“Op, I Kristne / N 269”; sketch for No. 73 with head-tion, stanza 1 above system, below system “*Septim-o83
ing “Alm: Salmebog N 591”, ﬁrst 5 bars crossed out.

82

oaccorden, synes jeg gør helt godt / til en Afvexling,
80/Hilsen / fra C.N.” added in pencil (CN).

MS 33 2099

Verso: fair copy without text of No. 59 by Paul Hell-[No. 54 Glæden hun er født i Dag, No. 60 Herrenomuth in ink, title “Sangværket N 544” added insiger: Er I trætte, No. 69 Min Jesus, lad mit Hjerte faa,

pencil (CN), below ﬁnal system “Den var drøj! / Men

No. 74 O hør os, Herre, for din Død)

81

melodien er god. / Hilsen Deres hengivne / PH.”;

DK-Kk, CNS 145c.

alternative version for bb. 17-18 added below system inDonated to The Royal Library by Irmelin Eggert Møller

pencil (CN).

in 1958.
35.4x27.8 cm, 1 folio written in pencil.

MS 33 2098

Autograph.

[No. 50 Forunderligt at sige, No. 60 Herren siger: Er I

Recto: sketch for No. 60 with heading “(N 213 ?) (Ntrætte, No. 73 O Helligaand! mit Hjerte, No. 74 O hør

o

o

o

10 ?) N 10 213”, circle added in red crayon aboveeder!]

3
44
4; sketch for No. 74 in 4 , no harmonisation in bb. 1-2,

DK-Kk, CNS 145b.

8-9, circle added in red crayon above system; sketch

Donated to The Royal Library by Irmelin Eggert Møl-

for No. 60, not used.

ler in 1958.

Verso: draft without text (unison song) for No. 54

35.5x27 cm, 1 bifolio written in ink and pencil.

with heading “N 98”; draft without text (unison

Paper type: B. H. Nr. 18. A. / 1. 12 (10 staves).

song) for No. 69 with heading “No 148”; sketch forPartly autograph.

No. 60, not used.

os, Herre, for din Død!, No. 77 Op, I Kristne, ruster

system; sketch in 4 and F major; sketch for No. 74 ino

On fol. 1:orecto: fair copy (pf.) of No. 60 with heading “N 213”,

MS 33 2100

melody written by CN, harmonisation by Paul Hell-[No. 42 Der er en bøn paa Jorden, No. 51 Fred med dig!

muth in ink, corrections in pencil last 3 bars (CN),og Fred med eder, No. 61 Herrens Røst var over Vandet!,stanza 1 added at the end of ﬁnal bar in ink (CN),No. 62 Hvi vil du dig saá klage, No. 66 Korsets Tegn og

circle added in red crayon; fair copy without text (pf.)

Korsets Ord, No. 84 Utallige Blomster paa Jorderig gro]obof No. 74, heading “N 223 ” added in pencil (CN),DK-Kk, CNS 146b.

melody written by CN, harmonisation by Paul Hell-Donated to The Royal Library by Irmelin Eggert Møller

muth, circle added in red crayon;

in 1958.

verso: draft (pf.) for No. 50, melody written by CN in

35.5x27 cm, 1 bifolio written pencil.

pencil, harmonisation by Paul Hellmuth in ink, addi-

Paper type: B.& H. Nr. 14 kA. / 11. 08. (24 staves).
Autograph.

80 “*I think the seventh chord is quite good / for achange / best wishes / from / C.N.”
81 “That was a hard one! / But the melody is good. /Yours sincerely / PH.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 343

82 “Hymn Book 591”.
o83 “Ordinary Hymn Book N 591”.

343

22/02/09 8:31:40

On fol. 1:

25.8x34.5 cm, 1 folio written in pencil.

recto: draft without text (pf.) and sketch for No. 61
owith heading “N 9”;Paper type: 10 staves (hand-ruled).
The source has been restored.

overso: sketch (unison song) with heading “N 15”;

Autograph.

sketch for No. 62, bb. +5-8; draft (pf.) and sketches

Dating: “30/10 29.”

for No. 62, text fragments, circle added in red crayon

Draft (voice, pf.) for No. 276 with heading “Hjem-

above system, “RK I” added in blue crayon above

stavn” added in ink, few additions in ink.

system.
On fol. 2:

MS 33 2103

recto: sketch for No. 62; draft without text (pf.) foroNo. 42 (?) with heading “N 37 / Fader vor”, circle[No. 309 Hjemvee (Underlige Aftenlufte!)]DK-Kk, CNS 150b.

added in red crayon above system, “R K II” added inoDonated to The Royal Library by Irmelin Eggert Møl-

blue crayon; draft (pf.) for No. 51 with heading “N 4ler and Anne Marie Telmányi in 1953.

Fred med Dig.”, “Grandjean” added above heading;

34.5x25.7 cm, 1 bifolio written in ink, fol. 2 blank.

osketch for No. 42 with heading “N 37”, crossed out;ov

Paper type: 16 staves (hand-ruled).

verso: draft (pf.) for No. 84 with heading “N 76 III

The source has been restored.

R.K.”, text fragments, “B” added in blue crayon, circle

Autograph.

added in red crayon above system; draft (pf.) for No. 66

Title page: “Hjemvee / (Underlige Aftenlufte) / Digt afowith heading “N 30”, text fragments; “Gr I” added in/ Øhlenschläger / Musik af Carl Nielsen / for blandet

blue crayon, circle added in red crayon above system.

Kor”, compositor’s markings added in pencil and ink.
Printing manuscript (vocal score, SATB on 2 staves)

MS 33 2101

for No. 309, 4 stanzas between staves, above top sys-

[No. 250 Hjemlige Jul, straaler Du nu!]

tem “Carl Nielsen / (Komponistens Udsættelse)” .

84

DK-Kk, CNS 148a.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2104

ler in 1958.

[No. 90 Hjemvee (Underlige Aftenlufte!), No. 97 Jeg

34.8x26 cm, 1 folio written in ink and pencil, versobærer med Smil min byrde, No. 427 Hjemvee (Under-

blank.

lige Aftenlufte)]

Paper type: 12 staves (hand-ruled).

DK-Kk, CNS 150d.

The source has been restored.

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Fair copy (pf.) of No. 250, with heading “Hjemlige

34.4x25.7 cm, 1 bifolio written in pencil and blue

Jul!” and stanza 1 between staves. After the last bar

crayon, fol. 2 blank.

“6 Vers” added in pencil (CN).

Paper type: 12 staves (hand-ruled).

The source also includes orchestral parts.

Autograph.

v

On fol. 1:
MS 33 2102

recto to verso, staff 3: draft (voice, pf.) for No. 427[No. 276 Hjemstavn (Jeg vandrer over mine Fædres

with heading “Underlige Aftenlufte N 1”, with text

Jord)]

fragments;

DK-Kk, CNS 149.

verso: draft (voice, pf.) for No. 90 with heading “Un-

Donated to The Royal Library by Irmelin Eggert Møl-

derlige Aftenlufte N 2”, stanza 1 below voice.

ooler in 1958.
84 “Carl Nielsen / (the composer’s arrangement)”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 344

344

22/02/09 8:31:41

On fol. 2:

Donated to The Royal Library by Thorvald Balslev inrecto: draft without text (unison song) for No. 97 with1953.

heading “Jeg bærer med Smil min Byrde”; sketch (uni-9x26 cm, 1 folio, trimmed, written in ink, verso blank.

son song) for alternative version of Nu er Dagen fuld af

Paper type: 4 staves (hand-ruled).

Sang, text fragment “Plukke, plukke”.

Autograph.
Fair copy (pf.) of Nos. 180, 198, stanza 1 between staves.

MS 33 2105
[No. 97 Jeg bærer med Smil min Byrde, No. 166 Jeg bæ-

MS 33 2108

rer med smil min byrde, No. 309 Hjemvee (Underlige[No. 99 Nu er da Vaaren kommen, No. 100 Hvor sødt i

Aftenlufte!), No. 310 Jeg bærer med Smil min Byrde]

Sommeraftenstunden]

DK-Kk, CNS 150c.

DK-Kk, CNS 155.

Donated to The Royal Library by Irmelin Eggert Møller

Donated to The Royal Library by Irmelin Eggert Møl-in 1958.

ler in 1958.

34.7x27.8 cm, 1 folio written in pencil and ink.
o34.5x26 cm, 1 folio written in pencil.

Paper type: PH N 13. (12 staves).

Paper type: 12 staves (hand-ruled).

Autograph.

The source has been restored.

The source has been restored.

Autograph.

Recto: draft without text (vocal score, SATB on 2

Datings: No. 100: “Damgaard 11/7 16”, No. 99: “Dam-staves) for No. 309, heading “Underlige Aftenlufte”

gaard 13-7-16”.

added (foreign hand).

Recto: draft (voice, pf.) for No. 100 with heading “I”.

Verso: draft without text (vocal score, SATB on 2

Verso: draft (voice, pf.) for No. 99 with heading “II”.

staves) for No. 310, heading “Jeg bærer med Smil min
Byrde” added (foreign hand); fair copy (unison song)

MS 33 2109

for Nos. 97, 166, 310.

[No. 111 Hymne til Danmark (Danmark, i tusend Aar)]
DK-Kk, CNS 156a.

MS 33 2106

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 14 Sang bag Ploven (I Solen gaar jeg bag min

ler in 1958.

Plov), No. 16 Hilsen (Den dovne Fjord, som gynger)]

35.5x27 cm, 1 bifolio paginated 1-2, title page and fol.

DK-Kk, CNS 147a.

2 unpaginated, fol. 2, trimmed; written in ink, fol.

Donated to The Royal Library by Irmelin Eggert Møller

2 blank.

in 1958.

Paper type: B. & H. Nr. 3 A. 6. 13. (16 staves).

v

v

v

34.5x26 cm, 1 bifolio written in pencil, fol. 2 blank.

Autograph.

Paper type: 12 staves (hand-ruled).

Title page: “Carl Nielsen. / Hymne til Danmark / Tekst

Autograph.

/ af / Valdemar Rørdam”, compositor’s markings

Sketch for No. 16, bb. 27-45, 62-70, text fragments;

added in pencil and in ink.

sketch for No. 14, bb. +1-16, text fragments; sketch,

Printing manuscript (voice, pf.) for No. 111, stanzas

not used.

1-3 below voice, compositor’s markings added in pencil, blue and red crayon.

MS 33 2107
[No. 180 Hvad synger du om så højt i det blå?, No. 198

MS 33 2110

Hvad synger du om så højt i det blå?][No. 110, Købmands-Vise (En Købmand, han staar

DK-Kk, CNS 152a.

bøjet, No. 111 Hymne til Danmark (Danmark, i

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 345

345

22/02/09 8:31:41

tusend Aar), No. 240 Blomstervise (Danmarks Som-

Paper type: 12 staves (hand-ruled).

mer gik sin Gang), No. 242 Danmark, vi elsker vort

Manuscript copy.

blomstrende Fædreland]

Manuscript copy without text (voice, pf.) of No. 15 inE major, “a” added in pencil (CN?) in b. 35, chord 4.

DK-Kk, CNS 156b.
Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 33 2114

35.5x27 cm, 1 folio written in pencil.

[No. 222 I Drømmenes land (Det er herligt at leve i

Paper type: 16 staves (hand-ruled).

Drømmenes Land)]

Autograph.

DK-Kk, CNS 159.

Recto: draft (pf.) for No. 111, heading “Danmark i

Donated to The Royal Library by Irmelin Eggert Møl-

Tusind Aar” added (foreign hand); sketch for No. 110

ler in 1958.

(voice, pf.), without text.

34.5x27 cm, 6 folios, rejected ﬁrst proof.

Verso: sketch for No. 240, bb. 46-51, text fragment

Pl. No. 11040.

above system, heading “Blomstervise” added (foreign

Paper type: 12 staves.

hand); sketch for No. 242.

The source has been restored.

MS 33 2111

corrections in pencil (CN).

[No. 21 Høgen (Vær hilset Høg over Granetop)]

On fols. 1 , 2 , 5 , 6 : title page for J.P.E. Hartmann’s

All recto of folios: proof reader’s copy of No. 222 with
v

v

v

v

de

DK-Kk, CNS 157b.

“Davids 115 Psalme”. Includes typewritten copy ofDonated to The Royal Library by Irmelin Eggert Møl-

the letter of 11 March 1895 from Nielsen to William

ler in 1958.

Behrend, in which the present song is mentioned.
v

34.5x26 cm, 1 bifolio written in pencil, fol. 2 blank.
Paper type: 12 staves.

MS 33 2115

Autograph.

[No. 266 I kølende Skygger]

Draft (voice, pf.) for No. 21, text fragment.

DK-Kk, CNS 160b.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2112

ler in 1958.

[No. 15 I Aften (Det gyldenhvide Himmellys)]

34x27.4 cm, 1 folio written in pencil, verso blank,

DK-Kk, CNS 158b.

except for “Det” which is written in ink.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: Nr. 1 F. S. (12 staves).

ler in 1958.

The source has been restored.

34.5x26 cm, 1 folio written in pencil.

Autograph.

Paper type: 12 staves (hand-ruled).

Draft without text (voice, pf.) for No. 266 with head-

Autograph.

ing “I kølende Skygger”.

Draft without text (voice, pf.) for No. 15, bb. 17-42.
MS 33 2116
MS 33 2113

[No. 408 I kølende Skygger][No. 15 I Aften (Det gyldenhvide Himmellys)]

DK-Kk, CNS 160a.

DK-Kk, CNS 158a.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler in 1958.

ler in 1958.

27.8x21.7 cm, 1 folio, typewritten text, music written

35x26 cm, 1 bifolio written in ink.

in pencil, verso blank.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 346

346

22/02/09 8:31:41

Paper type: ordinary paper, 1 staff (drawn in pencil).

Paper type: 14 staves (hand-ruled).

Autograph.

The source has been restored.

Draft without text (unison song) for No. 408; 4 type-

Autograph.

written stanzas on ﬂimsy paper, several corrections

Title page: “Carl Nielsen / Jeg bærer med Smil minin the text in ink.

Byrde. / for blandet Kor.”, compositor’s markings
added in pencil and ink.

MS 33 2117

Printing manuscript (vocal score, SATB on 2 staves)[No. 289 I Maaneskin titter]for No. 310, 5 stanzas between staves, compositor’s

DK-Kk, CNS 347c.

markings added in pencil.

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 33 2120

35.5x27 cm, 1 bifolio written in ink.

[No. 63 Jeg fandt en Trøst]

Paper type: B.& H. Nr. 11. A. / 5. 10. (18 staves).

DK-Kk, CNS 165b.

The source has been restored.

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Title page: “‘I Maaneskin titter’”.

35x26 cm, 1 folio, trimmed, written in ink, verso blank.

Fair copy (vocal score, children’s choir, SSATTBB, pf.

Paper type: 14 staves (hand-ruled).

on 1+2+2 staves) of No. 289.

The source has been restored.

After ﬁnal bar “ect Efterspil mangler”.

85

Manuscript copy.
Fair copy without text (pf.) by Paul Hellmuth ofo

MS 33 2118

No. 63, heading “N 370” added in pencil (CN), circle[No. 288 I Skyggen vi vanke]

added in blue crayon above system.

DK-Kk, CNS 347d.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2121

ler in 1958.

[No. 63 Jeg fandt en Trøst]

35.1x26.8 cm, 1 folio written in ink.

DK-Kk, CNS 165c.

Paper type: B. & H. Nr. 11. A. / 5. 10. (18 staves).

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Autograph.

2 folios:

Title page: “Musik til / Sct: Hansaften Spil / af / Carl35.5x27 cm, 1 folio written in ink.

Nielsen.”Paper type: (6 systems of 2 staves).

Fair copy (vocal score, SSAA, pf.) of No. 288 with

14.2x27 cm, 1 folio, trimmed, written in ink.

heading “I Skyggen vi vanke.”, dynamic markings

Paper type: B. & H. Nr.4. C. (2 systems of 2 staves).

added in pencil (CN).

The sources have been restored.
Manuscript copy.

MS 33 2119

Dating: “Fuglsang, August 1913.”[No. 310 Jeg bærer med Smil min Byrde]

On fol. 1:

DK-Kk, CNS 164d.

recto: manuscript copy without text (pf.) by Julius

Donated to The Royal Library by Irmelin Eggert Møller and Anne Marie Telmányi in 1953.

Røntgen of No. 63 arranged by Julius Røntgen withheading “Corale misterioso” with G  major key

34.5x25.6 cm, 1 folio written in ink.

signature, above top system: “Carl Nielsen – Julius
Røntgen”;

85 “ect [etc.] Postlude missing”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 347

347

22/02/09 8:31:41

verso: fair copy without text (pf.) of No. 63 with head-

Donated to The Royal Library by Hakon Andersen ining “Koralmelodi”, in D major.

1935.

On fol. 2:

8.5x26 cm, 1 folio, trimmed, written in ink, verso blank.

recto: manuscript copy without text (pf.) of No. 63 in

Paper type: 3 staves (hand-ruled).

D major, “Johannes.” added in pencil (CN);Autograph.

verso: manuscript copy without text (pf.) of No. 63

Fair copy (vocal score, SA on 1 staff) of No. 396 with

with heading “Koralmelodier”, in D major, correc-

heading “N 319,*”, text below staff, at bottom after

tions in pencil (CN?).

ﬁnal bar “M. Rosing”.

MS 33 2122

MS 33 2125

[No. 270 Jeg gik i marken og vogtede får][No. 397 Jeg kører frem gennem Straalefryd]

DK-Kk, CNS 166a.

DK-Kk, CNS 168a.

Donated to The Royal Library by Irmelin Eggert Møl-

13x26.7 cm, 1 folio, trimmed, written in ink, verso

ler in 1958.

blank.

c. 14.5x26 cm, 1 folio, trimmed, written in ink, verso

Paper type: 4 staves (hand-ruled).

blank.

Autograph.

Paper type: 4 staves (hand-ruled).

Fair copy (vocal score, SA on 1 staff) for No. 397 with

The source has been restored.

heading “N 280 ”, text below staff, after ﬁnal bar “Bj.

Autograph.

Bjørnson.”

o

o

a

Printing manuscript (pf.) for No. 270 with heading“Jeg gik i marken og vogtede får” (foreign hand),MS 33 2126

stanza 1 between staves.

[No. 191 Den danske Sang er en ung, blond Pige, No.
202 Vi nævner et navn, No. 263 Jeg kører frem gen-MS 33 2123

nem Straalefryd, No. 264 Den gamle Husmand staar[No. 269 Den trænger ud til hvert et sted, No. 270 Jeg

ved Gavl, No. 265 Hver har sit, du har dit]gik i marken og vogtede får, No. 271 Apostlene sad i

DK-Kk, CNS 168b.

Jerusalem]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 166b.

ler in 1958.

c. 21.5x27 cm, 1 folio, trimmed, written in pencil.

35.5x27.7 cm, 1 bifolio written in pencil, fol. 2 blank.

Paper type: Nr. 3. F. 12. (8 staves).

Paper type: B. & H. Nr. 4. C. 7. 14. (12 staves).

The source has been restored.

Autograph.

Autograph.

On fol. 1:v

recto: draft without text (pf.) for No. 263 with head-

Recto: draft (pf.) for Nos. 270, 269 with headingsoo“Jeg gik i Marken og vogtede Faar (N 240)” and “N

ing “Jeg kører frem gennem Straalefryd”, text frag-257”, respectively, beginning of stanza 1 between

ments, “Bo 26.” added above heading (foreign hand);staves.

draft without text (pf.) for No. 264, heading “DenoVerso: draft (pf.) for No. 269 with heading “N 186”,

gamle Husmand...(Bo, 26.)” added (foreign hand);beginning of text between staves.

verso: draft without text (pf.) for No. 265, heading“Hver har sit. Bo 26.” added (foreign hand).

MS 33 2124

On fol. 2:[No. 396 Jeg har båret lærkens vinge]

recto: draft without text (pf.) for No. 191 with head-

DK-Kk, CNS 167a.

ing “Den danske Sang”; draft without text (pf.) forCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 348

348

22/02/09 8:31:42

No. 202, at left margin “Vi nævner et Navn / Tillæg til

Recto: fair copy without text (pf.) of No. 64, melody

Folkehøjskolens Melodibog” added (foreign hand).

written by CN, harmonisation by Paul Hellmuth, text
fragment (CN).

MS 33 2127

Verso: manuscript copy without text (pf.) of No. 64[No. 412 Jeg kører frem gennem Straalefryd]86

by Paul Hellmuth, “Nu er den god, synes jeg. Venlig
87

DK-Kk, CNS 168c.

hilsen Deres PH.” added in ink, circle added in red

Donated to The Royal Library by Irmelin Eggert Møl-

crayon above b. 4 and after b. 10.

ler in 1958.
35.3x28.8 cm, 1 folio written in pencil, verso blank.

MS 33 2130

Paper type: B. & H. Nr. 1. A. 1.16 (12 staves).

[No. 225 Jeg synes om din lette Gang]

Autograph.

DK-Kk, CNS 171.

Sketch for an unidentiﬁed instrumental piece with

Donated to The Royal Library by Irmelin Eggert Møl-heading “Intermezzo”; sketch for alternativ version

ler in 1958.

(unison song) for Jeg kører frem gennem Straalefryd, text

35.2x27 cm, 1 bifolio written in pencil.

“Jeg kører frem gennem Straalefryd” in bb. +1-2.

Paper type: B. & H. Nr. 2. E (14 staves).
The source has been restored.

MS 33 2128

Autograph.

[No. 189 Jeg lægger mig saa trygt til Ro, No. 192 Jens

On fols. 1 -2 : sketches for Sir Oluf He Rides– (Prelude

Madsen å An-Soﬁ (Jens Madsen wa en Feskermand)]and Act Three), see CNU I/7, p. 217.

DK-Kk, CNS 169a.

On fol. 2 : draft (voice, pf.) for No. 225.

r

r

v

Donated to The Royal Library by Irmelin Eggert MølMS 33 2131

ler in 1958.
v

34.5x26 cm, 1 bifolio written in pencil, fol. 2 blank.

[No. 182 Jeg ved en Lærkerede]Paper type: 16 staves (hand-ruled).

DK-Kk, CNS 173a.

The source has been restored.

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

On fol. 1:

22.1x27 cm, 1 folio, trimmed, written in pencil.

recto: draft without text (voice, pf.) for No. 189 withoPaper type: 12 staves (hand-ruled).

heading “N 107”, at top left corner “Jeg lægger mig

The source has been restored.

saa trygt til ro” added (foreign hand); sketch for No.

Autograph.

192; sketch for No. 192.

Recto: draft without text (voice, pf.), for No. 182 withvr

On fols. 1 -2 : sketch for No. 192, several text fragments.

heading “Jeg ved en Lærkerede (249)”.
Verso: sketch for an unidentiﬁed instrumental piece

MS 33 2129

with heading “Moderato”.

[No. 64 Jeg raaber fast, o Herre]
DK-Kk, CNS 170b.

MS 33 2132

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 65 Jeg ved et lille Himmerig]

ler in 1958.

DK-Kk, CNS 174b.

20.5x22.7 cm, 1 folio, trimmed, written in ink.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: 6 staves (hand-ruled).

ler in 1958.

Partly autograph.

18.3x25.7 cm, 1 folio, trimmed, written in ink.

86 Not in the present edition.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 349

87 “Now it is ﬁne, I think. Best wishes PH.”349

22/02/09 8:31:42

Paper type: 7 staves (hand-ruled).

MS 33 2135 Nos. 377, 379, 380, 382

Manuscript copy.

[No. 377 Bokserne (Ve’ du sla’ mig), No. 379 Vægter

Recto: manuscript copy without text (pf.) by Pauljeg beder, hold op med i Sang, No. 380 Ikke det altid

Hellmuth of No. 65, 2 versions of b. 11, below theslaar til, No. 382 Stilhed og Mørke]88

ﬁrst: “bedst, synes jeg” ; “Kære C.N. De 2 første
89

DK-Kk, CNS 280.

takter er af ThL, resten af PH. Hilsen” added by Paul

Donated to The Royal Library by Irmelin Eggert Møl-

Hellmuth.

ler in 1958.

Verso: fair copy (unison song) of “Maj-Vise”, com-

34.6x25.9 cm, 1 bifolio, written in pencil.

posed and written by Paul Hellmuth.

Paper type: 12 staves (hand-ruled).
Autograph.
90

MS 33 2133

Title on ﬁrst music page: “Trestemmig Kanon”.

[No. 192 Jens Madsen å An-Soﬁ (Jens Madsen wa en

On fol. 1:

Feskermand)]recto : draft (vocal score, SSA on 3 staves) for No. 380,

DK-Kk, CNS 175a.

text below top staff; sketch for an unidentiﬁed piece;

Donated to The Royal Library by Irmelin Eggert Møl-verso: draft (vocal score, SA on 2 staves) for No. 379,

ler in 1958.

text below staves, 2 corrections in ink (CN).

34.1x25.7 cm, 1 bifolio written in ink.

On fol. 2:

Paper type: 14 staves (hand-ruled).

recto: draft (vocal score, SA on 2 staves) for No. 382,

Autograph.

text below staves; beginning of No. 377, text written

Fair copy (voice, pf.) of No. 192 with title “Jens Mad-in pencil below staff;

sen å An-Soﬁ.”, stanza 1 below voice, corrections andverso: draft (vocal score, SSA on 3 staves) for No. 377,

additions in pencil and blue crayon (CN).

text fragments below top staff; draft without text:

(vocal score, SSA) for No. 377.
MS 33 2134
[No. 22 Jens Vejmand (Hvem sidder der bag Skjær-MS 33 2136men), No. 24 Den første Lærke][No. 279 Morgenhanen atter gol, No. 280 Ind under

DK-Kk, CNS 176b.

Jul, hvor er det trist, No. 281 I kølende Skygger, No.

Donated to The Royal Library by Irmelin Eggert Møl-

282 Dannebrog, vift med din Vinge, No. 283 Har I nu

ler in 1958.

Tænder i Riven sat, No. 284 Det är höst]

34.5x25.7 cm, 1 bifolio written in pencil.

DK-Kk, CNS 162c.

Paper type: 12 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Autograph.

25.8x34.7 cm, 2 folios written in pencil.

On fol. 1:

Paper type: 10 staves.

recto: sketch (unison song) for No. 22, C Major; sketch

The source has been restored.

without text (voice, pf.) for No. 22, bb. 3-9, in C major.

Autograph.

vr

On fols. 1 -2 :On fol. 1:

draft without text (voice, pf.) for No. 24;

recto: draft (pf.) for Nos. 280 and 281 with headings

v

o

o

fol. 2 : sketch (pf. top staff) for No. 24, bb. 1-3 with

“Borup N 17 Ind under Jul” and “N 13” respectively;

heading “Den første Lærke”.

beginning of stanza 1 between staves;verso: draft (voice, pf.) for No. 284 (bb. 1-22).

88 “the better one, I think”.
89 “Dear C.N. The ﬁrst two bars are by ThL [ThomasLaub], the rest is by PH [Paul Hellmuth]. Bestwishes”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 350

90 “Three-part canon”.

350

22/02/09 8:31:42

On fol. 2:

MS 33 2139

recto: draft without text (pf.) for No. 282 with head-[No. 2 Seraillets Have (Rosen sænker sit Hoved, tungtoing “N 65 Dannebrog, vift med din Vinge”; draft

af Dug og Duft), No. 4 Irmelin Rose (Se, der var en(voice, pf.) for No. 284 bb. 23-36;

Gang en Konge)]overso: draft (pf.) for No. 279 with heading “N 1

DK-Kk, CNS 163a.

Morgenhanen atter gol.”, stanza 1 between staves;

Donated to The Royal Library by Irmelin Eggert Mølo

draft without text (pf.) for No. 283 with heading “Nler in 1958.

78 Har I nu Tænder i Riven sat”.

34.6x26.1 cm, 1 bifolio written in pencil.
Paper type: 12 staves (hand-ruled).

MS 33 2137

The source has been restored.

[No. 404 Ind under Jul, hvor er det trist]

Autograph.

DK-Kk, CNS 162a.

On fol. 1:

Donated to The Royal Library by Irmelin Eggert Møl-

recto: draft without text (voice, pf.) for No. 4, bb. 17-

ler in 1958.

35, some bars incomplete;

c. 10.5x25.8 cm, 1 folio, trimmed, written in pencil,

verso: draft without text (voice, pf.) for No. 2, bb. 1-18.

verso blank.

On fol. 2:

Autograph.

recto: draft without text (voice, pf.) for No. 2, bb.

Draft (unison song) for No. 404, 1 stanza below staff.

20-28;
verso: draft without text (voice, pf.) for No. 2, bb. 29-

MS 33 2138

33; sketch for No. 4, several text fragments, 1 phrase[No. 404 Ind under Jul, hvor er det trist]and few notes added in ink.

DK-Kk, CNS 162b.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2140

ler in 1958.

[No. 385 Kom blankeste Sol!, No. 386 Kom blankeste

22.8x17.3 cm, 1 bifolio written in ink and pencil, fol.

Sol!]

v

2 blank.

DK-Kk, CNS 297.

Paper type: ordinary paper, 1 staff (drawn in pencil).

Acquired by The Royal Library from the estate ofPartly autograph.

Henrik Knudsen in 1947.

On fol. 1:

26x34.6 cm, 1 folio written in ink.

recto: letter of 30.6.1926 written in ink from Ad. Riis-

Paper type: 10 staves (hand-ruled).

Magnussen to Thomas Laub, who is asked to compose

The source has been restored.

music for the poem;

Manuscript copy (Henrik Knudsen).

verso: draft without text (unison song) for No. 404

Dating: “9 April 1901”.

written in pencil.

Recto: fair copy (vocal score, SSA on 3 staves) of No.

On fol. 2:385, stanza 1 below top staff, stanza 2 below staff 2.

recto: 4 stanzas for No. 404 written in ink (Riis-Mag-

Verso: fair copy without text (vocal score, SA on 2

nussen), at top right corner “Da Grisehandler Sø-staves) of No. 386.

rensen fra Skjæve i Onsdags kørte gennem Randrup
91
Skov” added in pencil (CN), in left margin “Højskoleo

bladet / N 51 af 1929” added in pencil (foreign hand).

MS 33 2141
[No. 303 Kom, Gudsengel, stille Død]
DK-Kk, CNS 298.

91 “When pig-breeder Sørensen from Skjæve drove
through Randrup Forest last Wednesday”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 351

34.7x25.9 cm, 1 folio written in pencil, verso blank.

351

22/02/09 8:31:42

oPaper type: 18 staves (hand-ruled).

Recto: draft (pf.) for No. 252 with heading “N 12”,Autograph.

text fragments between staves; draft (voice, pf.) for

Draft (vocal score, ATB on 3 staves) for No. 303, text

No. 254 with heading “N 39”, text fragments below

fragments.

voice; draft (pf.) for No. 188 bb. 5-16, accompani-oment only.
MS 33 2142

Verso: draft (vocal score, TTBB on 2 staves) for No. 329[No. 248 Julesang (Kom, Jul, til Jord, kom høje Gæst]with heading “Mandskor”, heading “Der er et yndigt

DK-Kk, CNS 178b.

Land” added (foreign hand); draft (vocal score, SATTB

Donated to The Royal Library by Irmelin Eggert Møl-

on 3 staves) for No. 307 with heading “5stemmigt Bl.

ler in 1958.

92
Kor”, corrections in ink; sketch with heading “Al-

34.8x26 cm, 1 folio written in pencil, verso blank.

legretto vivace” in ink.

Paper type: 12 staves (hand-ruled).
Autograph.

MS 33 2146

Draft (pf.) for No. 248, beginning of stanza 1 between[No. 103 Hun mig har glemt! min Sorg hun ej see!,staves.

No. 104 Højt ligger paa Marken den hvide Sne]
DK-Kk, CNS 183.

MS 33 2144

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 336 Lad en og anden have Ret, No. 343 Kær est

ler in 1958.

du, Fødeland, sødt er dit Navn]

35x26.5 cm, 1 folio, recto written in pencil, verso

DK-Kk, CNS 181a.

written in ink.

Donated to The Royal Library by Irmelin Eggert Møl-

Paper type: 12 staves (hand-ruled).

ler in 1958.

The source has been restored.

35x25.8 cm, 1 folio written in pencil, verso blank.

Autograph.

Paper type: 12 staves (hand-ruled).

Dating: No. 103: “Damgaard 15-6-16”.

Autograph.

Recto: draft (voice, pf.) for No. 103 with heading

Sketch for pf. with heading “Andante”; draft (vocal“Langelandsk Folkemelodi.”

score, SSA on 2 staves for No. 343 with stanza 1 be-

Verso: sketch for No. 104.

tween staves; draft without text (vocal score, SSA on
MS 33 2147

2 staves) for No. 336.

[No. 195 Æ Lastræ (Mi Håsbond wa en piinwon Rad)]MS 33 2145

DK-Kk, CNS 276.

[No. 188 Grøn er Vaarens Hæk, No. 252 Lad en og

Donated to The Royal Library by Irmelin Eggert Møl-

anden have Ret, No. 254 Kær est du, Fødeland, sødt

ler in 1958.

er dit Navn, No. 307 Der er et yndigt Land, No. 329

34.2x27 cm, 1 folio written in ink, verso written in

Der er et yndigt Land]

pencil.

DK-Kk, CNS 182b.

Paper type: 18 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Recto: draft without text (voice, pf.) for No. 195 with

34.7x26 cm, 1 folio written in pencil and ink.

title “Æ Lastræ”, corrections in ink and pencil (CN).

Paper type: 16 staves (hand-ruled).

Verso upside down: sketch for Symphony No. 5, Op.

The source has been restored.

50 (foreign hand).

Autograph.
92 “Five-part mixed choir”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 352

352

22/02/09 8:31:43

oMS 33 2148

Verso: draft (pf.) for No. 49 with heading “N 118”,[No. 178 Lær mig, nattens stjærne]stanza 1 above system, circle added above system in

DK-Kk, CNS 185a.

red crayon.

Donated to The Royal Library by Thorvald Balslev in
1953.

MS 33 2151

9.4x26 cm, 1 folio, trimmed, written in ink, verso[No. 49 Et helligt Liv, en salig Død, No. 68 Maria sadblank.

paa Hø og Straa]

Paper type: 4 staves (hand-ruled).

DK-Kk, CNS 186b.

Autograph.

Donated to The Royal Library by Irmelin Eggert Møl-

Fair copy (pf.) of No. 178, stanza 1 between staves,

ler in 1958.

phrase with distribution of syllables in b. 6; stanzas 1

16.9x26 cm, 1 folio, trimmed, written in ink.

and 5 added beneath the system (CN).

Paper type: 8 staves (hand-ruled).
Manuscript copy.

MS 33 2149

Recto: manuscript copy without text (pf.) by Paul

[No. 178 Lær mig, nattens stjærne]Hellmuth for No. 68, heading “110” added in pencil

DK-Kk, CNS 185b.

(CN), circle added at top right corner in red crayon.

Donated to The Royal Library by Irmelin Eggert Møl-

Verso: manuscript copy without text (pf.) by Pauller in 1958.

Hellmuth for No. 49, heading “118” added in pencil

19.4x16.5 cm, 1 folio, trimmed, written in pencil,(CN), circle added at top right corner in red crayon.

verso printed.
Paper type: ordinary paper, 2 staves (drawn in pencil).

MS 33 2152

Autograph.

[No. 254 Kær est du, Fødeland, sødt er dit Navn,

Recto: draft without text (pf.) for No. 178 with head93

94[No. 262] Der er et yndigt Land, No. 337 Morgen-ing “Mildt, ikke for langsomt.”, above top systemdug, der sagte bæver i den lune Vind, No. 338 Se dig“Fire folkelige Melodier (Lær mig Nattens Stjerne)”

ud en Sommerdag, No. 339 Du danske Mand af aladded (foreign hand).

din Magt, No. 340 Du gav os de Blomster, som lyste

Verso: printed stanzas from 4 different songs, circle

imod os, No. 342 Som en rejselysten Flaade, No. 343

added at “487. / Kær est du, Fødeland.” in pencil.

Kær est du, Fødeland, sødt er dit Navn, No. 346
Den kedsom Vinter gik sin Gang, No. 347 Frydeligt

MS 33 2150

med Jubelkor, No. 351 Nu lyser Løv i Lunde, No.

[No. 49 Et helligt Liv, en salig Død, No. 68 Maria sad

352 O, hvor jeg er glad i Dag!, No. 354, Jeg lægger

paa Hø og Straa]

mig saa trygt til Ro, No. 356 Sol er oppe, Skovens

DK-Kk, CNS 186c.

Toppe, No. 357 De Snækker mødtes i Kvæld paa Hav,

Donated to The Royal Library by Irmelin Eggert Møl-

No. 365 Vi fri Folk fra Norden, No. 366 Vældige Riger

ler in 1958.

rives om Jorden, No. 367 Havet omkring Danmark,17.5x26 cm, 1 folio, trimmed, written in pencil.

No. 368 Naar Somrens Sang er sungen, No. 369 Sov,

Paper type: 6 staves.

mit Barn, sov længe, No. 371 Farvel, min velsignede

Autograph.

Fødeby!, No. 372 Ud gaar du nu paa Livets Vej,o

Recto: draft (pf.) for No. 68 with heading “N 110”,

No. 374 Solen er saa rød, Mor, No. 376 Naar Smaa-

stanza 1 above system, circle added above system inbørn klynker ved Aftentide]

red crayon.

DK-Kk, CNS 187.
93 “Gently, not too slow.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 353

94 Not in the present edition.

353

22/02/09 8:31:43

Donated to The Royal Library by Albert Jørgensen in

Frydeligt med Jubelkor” in F major, S2, A added in pen-1962 (?).

cil (CN), above top staff “1/1 op” added in pencil (CN);35.5x 26.3 cm, 52 folios written in ink and pencil,

fol. 14 : autograph sketch without text (vocal score,

3 folios unpaginated, 48 folios paginated “1-48” on

SA on 1 staff) for No. 356 written in pencil with head-

recto of folios in pencil, ﬁnal folio unpaginated; mosting “134”, in A major;

verso of folios blank.

fol. 16 : autograph draft without text (vocal score,

Paper type: manuscript paper in miscellaneous

SSA on 2 staves) for No. 366 written in pencil, correc-

formats and with miscellaneous staves glued on totion in b. 7 in ink (CN);brown or grey pasteboard.

fol. 18 : autograph draft without text (vocal score,

On fol. 1 of unpaginated folios: History of the prov-

SSA on 3 staves) for No. 374 written in pencil;

enance.

fol. 19 : autograph draft (vocal score, SSA on 3 staves)

On fol. 2 of unpaginated folios: Alphabetic list of com-

for No. 376 written in pencil;

posers.

fol. 20 : manuscript copy by Albert Jørgensen (vocal

On fol. 3 of unpaginated folios: Alphabetic list of texts.

score, SA) of No. 337 written in ink with heading “Nr.

Draft for and manuscript copies of songs by Nielsen

13 Morgendug der sagte bæver”, A added in pencil

in Melodies for the Songbook ‘Denmark’:(CN?);

r

r

r

r

r

r

r

fol. 1 : autograph draft (score for 6 brass instruments)

fol. 21 : manuscript copy by Albert Jørgensen (vocal

without text written in pencil for Der er et yndigt

score, SA) of No. 338 written in ink with heading “Nr.

95
96Land , above top staff “Husk i F.” added in pencil

21 Se dig ud en Sommerdag”, A added in pencil (CN);(CN);

fol. 22 : manuscript copy by Albert Jørgensen (vocalrvfol. 1 : manuscript copy by Albert Jørgensen without

score, SA) of No. 339 written in ink with heading “Nr.

text (unison song) of No. 371 written in ink with

23 Du danske Mand”, A added in pencil (CN);heading “No. 230 Farvel min velsignede Fødeby”, in A

fol. 23 : manuscript copy by Albert Jørgensen (vocal

major, addition of A in b. 2 (CN);score, SSA) of No. 342 written in ink with headingrrfol. 5 : autograph draft without text (vocal score, SSA“Nr. 30 Som en rejselysten Flaade””, S2, A added inon 1 staff) for No. 340 written in pencil;

pencil (CN);rrfol. 6 : manuscript copy without text by Albert Jør-

fol. 26 : manuscript copy by Albert Jørgensen (vocal

gensen (unison song) of Kær est du, Fødeland writtenscore, SSA) of No. 351 written in ink with heading

in ink, crossed out, composed by Joh. Egeberg; auto-“Nr. 66 Nu lyser Løv i Lunde”, A added in pencil

graph sketch without text (voice, pf.) for Nos. 254,(CN);

343 written in pencil;

fol. 34 : autograph draft without text (vocal score, SA)rrfol. 7 : autograph sketch without text (vocal score,for No. 365 written in pencil;

SSA on 2 staves) for No. 346 written in pencil;

fol. 36 : manuscript copy by Albert Jørgensen (unisonrvfol. 8 : autograph draft without text (vocal score, SAsong) of No. 357 written in ink; with heading “161 De

on 1 staff) for No. 352 written in pencil;

Snækker mødtes”;

rr

fol. 11 : autograph draft without text (vocal score,fol. 37 : autograph draft without text (vocal score,

SSA on 1 staff) for No. 354 written in pencil withSSA) for No. 367 written in pencil;

heading “107”;

fol. 37 : manuscript copy by Albert Jørgensen (unisonvvfol. 11 : manuscript copy by Albert Jørgensen (unisonsong) of No. 365 written in ink with heading “200 Visong) of No. 347 written in ink with heading “No. 51

fri Folk fra Norden”;
rfol. 39 : autograph draft without text (vocal score,
95 Published in CNU IV/1.
96 “Remember, in F”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 354

SSA) for No. 368 written in pencil;

354

22/02/09 8:31:43

rfol. 40 : autograph draft without text (vocal score,MS 33 2155

SSA) for No. 369 written in pencil;[No. 102 Min lille Fugl, hvor ﬂyver du]v

fol. 40 : manuscript copy by Albert Jørgensen (unison

DK-Kk, CNS 189b.

song) of No. 372 written in ink with heading “231 Ud

Donated to The Royal Library by Irmelin Eggert Møl-

gaar du nu paa Livets Vej”.

ler in 1958.

The source contains also songs by other composers

35.5x26.7 cm, 1 folio written in pencil.

arranged by CN.

Paper type: 24 staves.
Autograph.

MS 33 2153

Recto: draft (voice, pf.) for No. 102 with heading[No. 69 Min Jesus, lad mit Hjerte faa]“‘Min lille Fugl’ H.C. Andersen”; sketches for an uni-

334
Verso: sketches, , D minor / D major.
dentiﬁed orchestral work, 4 .

Dk-Kk, CNS 188b.
Donated to The Royal Library by Irmelin Eggert Møller in 1958.
11x23.5 cm, 1 folio, trimmed, written in ink andMS 33 2158

pencil, verso blank.

[No. 401 Morgenhanen atter gol]Paper type: B. & H. Nr. 18.A. 1.12 (3 staves).

DK-Kk, CNS 193b.

Partly autograph.

Donated to The Royal Library by Irmelin Eggert Møl-

Fair copy without text (pf.) of No. 69 with heading

ler in 1958.

“Min Jesus, lad mit Hjerte faa”, melody written by

18.3x20.3 cm, 1 folio written in pencil.

oCN, harmonisation by Paul Hellmuth in ink, “N 232”

Paper type: telegram form from “Danish Railways”, 197ochanged to “Salmebog” in pencil, “Brücker N 148”

staff (drawn in pencil).

added in pencil (CN), “Kom til Frokost Kl 12! Hilsen

Partly autograph.

98
C.N.” added in ink below system (CN), “Kære Hr.

Recto: telegram of 10.6.1926 to Nielsen: “Fra Prøven

C.N. Endnu engang: Det er en pragtfuld melodi!!! Op I

paa Carl Nielsen Concerten iaften sender vi Kom-kristne, altsaa. Den anden har jeg gjort saa enkelt som

ponisten de hjerteligste Hilsener / Radioorkestretsbare muligt. Den er ogsaa god. Tak for mad og venlig

medlemmer / og Dirigenten”

99

hilsen Deres PH.” added in ink by Paul Hellmuth.

100(foreign hand).

Verso: draft without text (unison song) for No. 401(CN); sketches (pf.) for No. 401.

MS 33 2154
[No. 102 Min lille Fugl, hvor ﬂyver du]

MS 33 2159

DK-Kk, CNS 189a.

[No. 260 Naar Smaabørn klynker ved Aftentide]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 204b.

ler in 1958.

Donated to The Royal Library Irmelin Eggert Møller

34.5x26 cm, 1 folio written in ink, verso blank.

in 1958.

Paper type: 12 staves (hand-ruled).

11.2x34.8 cm, 1 folio, trimmed, written in ink, verso

Autograph.

blank, in library binding.

Fair copy (voice, pf.) of No. 102, additions and correc-

Paper type: 5 staves (hand-ruled).

tions in pencil and blue crayon.

Autograph.
Fair copy (pf.) of No. 260, stanza 1 between staves,

97 “Hymn Book”.
98 “Come and have lunch at 12! Best wishes CN”.
99 “Dear Mr. C.N. Once more: It is a magniﬁcent
melody!!! I mean Rise, ya Christians. The otherone, I have made as simple as possible. It is also
very good. Thank you for lunch and best wishes,sincerely PH”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 355

stanza 2 below system.
100 “From the rehearsal of the Carl Nielsen concert
this evening we warmly greet the composer /members and conductor of the Radio SymphonyOrchestra”.

355

22/02/09 8:31:43

MS 33 2160

recto: draft without text (pf.) for No. 161 with heading[No. 134, Når somrens sang er sungen, No. 135 De“N 370 Hedelærken”;snækker mødtes i kvæld på hav, No. 136 Naturens

verso: draft without text (pf.) for No. 150 with head-ædle dyrker begærer ej dens krans, No. 150 Jeg så

ing “N 141 Jeg saa kun tilbage”.

ookun tilbage, mig livets lyst bortklang, No. 151 Derfor
kan vort øje glædes, No. 152 Naturens ædle dyrker

MS 33 2161

begærer ej dens krans, No. 153 Når somrens sang er[No. 98 Nu er Dagen fuld af Sang]

sungen, No. 157 Frihed er det bedste guld, No. 160 De

DK-Kk, CNS 196a.

snækker mødtes i kvæld på hav, No. 161 Hedelærken,

34.5x26 cm, 1 folio written in ink, verso blank.

den liden fugl, No. 165 Tunge, mørke natteskyer]

Paper type: 14 staves (hand-ruled).

DK-Kk, CNS 194.

Autograph.

Donated to The Royal Library by Irmelin Eggert Møl-

Printing manuscript (voice, pf.) of No. 98, heading

ler in 1958.

“XX” added in blue crayon, stanzas 1-3 below voice,17x25.3 cm, 14 folios, fols. 1-5 written in pencil, fols.

stanzas 4-5 below ﬁnal system.

6-14 blank; in brown covers.
Paper type: 6 staves (hand-ruled).

MS 33 2162

Autograph.

[No. 98 Nu er Dagen fuld af Sang]

On fol. 1:

DK-Kk, CNS 196c.

recto: draft without text (pf.) for Nos. 136, 152 withoDonated to The Royal Library by Randi Teglbjærg inheading “Højskolesangbog N 158”, text fragment,

1974.

after ﬁnal bar “Hauch” added, small differences be-c. 25.5x34 cm, 1 folio written in pencil, verso blank.

tween the accompaniments of Nos. 136 and 152;

Paper type: 10 staves (hand-ruled).

verso: draft without text (pf.) for No. 151 with heado

The source has been restored.

ing “Derfor kan vort Øje glædes”, in left margin “N

Manuscript copy.

157” added, after ﬁnal bar “(Richardt)” added.

Manuscript copy without text (voice, pf.) of No. 98

On fol. 2:(presumably in Henrik Knudsen’s hand), F major.

draft without text (pf.) for Nos. 135, 160 with heado

ing “N 359”, text fragment, after ﬁnal bar “Grundt-

MS 33 2163

vig” added, bb. 13-14 of No. 135 are not identical[No. 398 Nu ruger paa Reden i Fjer og Straa]

with bb. 13-14 of No. 160.

DK-Kk, CNS 198a.

rv

On fols. 3 -4 :Donated to The Royal Library by Hakon Andersen indraft without text (pf.) for No. 165 with heading
o

1935.

“Tunge, mørke Natteskyr N 554.”, after ﬁnal bar

12x26 cm, 1 folio, trimmed, written in ink, verso blank.

“Jakob Knudsen” added;

Paper type: 4 staves (hand-ruled).

draft without text (pf.) for Nos. 134, 153 with head-

Autograph.

oing “N 162”, text fragment, after ﬁnal bar “Hostrup”

Fair copy (vocal score, SA on 1 staff) of No. 398 withadded, small differences between the accompani-

heading “N 299*”, text below staff.

oments of Nos. 134 and 153.
On fol. 4:

MS 33 2164

verso: draft without text (pf.) for No. 157 with head-[No. 273 Nu ruger paa Reden i Fjer og Straa, No. 396

ing “No 200 ‘Frihed er det bedste Guld’”.

Jeg har båret lærkens vinge, No. 398 Nu ruger paa

On fol. 5:

Reden i Fjer og Straa]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 356

356

22/02/09 8:31:44

DK-Kk, CNS 198b.

Verso: draft (unison song) for Nos. 180, 198; draft (pf.)

Donated to The Royal Library by Irmelin Eggert Møl-

for Nos. 180, 198, heading “Højskole Tillæg”

ler in 1958.

(foreign hand); draft (pf.) for No. 179, heading “Tillæg

34x25 cm, 1 folio written in pencil, verso blank.

til Højsksgbg Sangen har Lysning” added (foreign

Paper type: 12 staves (hand-ruled).

hand), few corrections in ink.

101

added

The source has been restored.
Autograph.

MS 33 2167

Sketch (vocal part, S) for No. 398 in F major; draft[No. 328 Hil dig vor Fane!, No. 426 O, Du Guds Lam!

(vocal score, SA on 1 staff) for No. 398 with heading

Med Korsets Skam]o“N 299”, text in bb. 1-2, “utrykt” added in pencil

DK-Kk, CNS 206.

(Irmelin Eggert Møller); draft (vocal score, SA on 1

Donated to The Royal Library by Irmelin Eggert Møl-ostaff) for No. 396 with heading “N 319”; draft with-ler in 1958.

out text (pf.) for No. 273 (pf. only); sketch (pf.) for “Jeg

20x34.6 cm, 1 folio, trimmed, written in pencil.

har baaret Lærkens Vinge”.

Paper type: 7 staves (hand-ruled).
Autograph.

MS 33 2165

Recto: sketch without text (pf.) for No. 426 with

[No. 181 Nu skal det åbenbares, No. 200 Nu skal det

headings “No. 119” and “O du Guds Lam! med Korsetsåbenbares]

Skam”.

DK-Kk, CNS 199a.

Verso: draft without text (vocal score, TTBB on 2

Donated to The Royal Library by Thorvald Balslev instaves) for No. 328 with heading “Hil dig vor Fane”,

1953.

at top left corner “N 142 / Sangværk”, above top staff

8.5x26 cm, 1 folio, trimmed, written in ink, verso“Studenterne! Mandskor”,

blank.

stemmig Bas I-II-III / 4 stemmig”,o102

and below top staff “3103

added (CN).

Paper type: 2 staves (hand-ruled).
Autograph.

MS 33 2168

Fair copy (pf.) of Nos. 181, 200, stanza 1 between[No. 72 O, havde jeg dog tusind Tunger]

staves, No. 181 identical with No. 200.

DK-Kk, CNS 207c.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2166

ler in 1958.

[No. 179 Sangen har lysning, No. 180 Hvad synger du

35x26 cm, 1 folio written in ink, verso blank.

om så højt i det blå?, No. 181 Nu skal det åbenbares,

Paper type: 12 staves (hand-ruled).

No. 197 Sangen har Lysning, No. 198 Hvad synger duAutograph.

om så højt i det blå?, No. 200 Nu skal det åbenbares]

Fair copy (pf.) of No. 72 with heading “3) O havde jeg

DK-Kk, CNS 199b.

dog tusind Tunger.”, stanza 1 between staves, above

Donated to The Royal Library by Irmelin Eggert Møl-ﬁrst heading “(N 14)” added in ink, at top left corner

ler in 1958.

“1,2,7.” added in red crayon, “Salme”

35x27.4 cm, 1 folio written in pencil.

cil (foreign hand), below last system “3 Vers”

Paper type: 10 staves.

in pencil (foreign hand).

o104

added in pen105

added

The source has been restored.
Autograph.

101 “Højskole Supplement”.
102 “The students! Male choir”.
103 “three-part bass I-II-III / four-part”.
104 “Hymn”.
105 “three stanzas”.

Recto: draft (pf.) for Nos. 181, 200 with heading “Nuskal det aabenbares”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 357

357

22/02/09 8:31:44

MS 33 2169

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 72 O, havde jeg dog tusind Tunger, No. 86 Vor

ler in 1958.

Herre, han er en Konge stor]

35x26 cm, 1 folio written in ink, verso blank.

DK-Kk, CNS 207d.

Paper type: 12 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Fair copy (voice, pf.) of No. 190 with heading “O, hvor

35.5x27 cm, 1 folio written in pencil, blue and red

jeg er glad i Dag.”, stanza 1 below voice.

crayon.
Paper type: B. & H. Nr.19. A. 1. 12. (10 staves).

MS 33 2172

Autograph.

[No. 185 Spurven sidder stum bag Kvist, No. 190 O,

Recto: draft without text (pf.) for No. 72 with heading

hvor jeg er glad i Dag!. No. 255 O, hvor jeg er glad io“N 14 O, havde jeg”, after ﬁrst heading “eller (helst)o106

N 59 Vaagn op (Kingo)”

added in blue crayon (CN),Dag!]
DK-Kk, CNS 209b.

alternative version of bb. 8-9 added in blue crayon.;

Donated to The Royal Library by Irmelin Eggert Møl-sketch without harmonisation crossed out.

ler in 1958.

Verso: draft without text (pf.) for No. 86 with heading

35.8x26.1 cm, 1 folio written in pencil.

“155”; sketch without harmonisation.

Paper type: 16 staves (hand-ruled).
Autograph.
oMS 33 2170

Recto: draft (pf.) for No. 255 with heading “N 70”,

[No. 73 O Helligaand! mit Hjerte, No. 76 Op al den

heading “O, hvor jeg er glad Smaasange?” added (for-Ting, som Gud har gjort]

eign hand); draft (voice, pf.) for No. 190; draft (voice,

DK-Kk, CNS 208b.

pf.) for No. 185, in left margin “10 Småsange”

Donated to The Royal Library by Irmelin Eggert Møl-

added (foreign hand).

ler in 1958.

Verso: draft (pf.) for No. 185, accompaniment; sketch

22.6x27 cm, 1 folio, trimmed, written in pencil andfor an unidentiﬁed piece.

109

ink.
Paper type: 7 staves (hand-ruled).

MS 33 2173

Partly autograph.

[No. 53 Frisk op! endnu en Gang, No. 66 Korsets Tegn

Recto: draft without text (pf.) for No. 73 with heading
107“Salmebog 591”,

melody written by CN in pencil,

og Korsets Ord, No. 78 O, sad jeg, som Maria sad, No.
81 Ton det, Himmel, syng det, Jord]

harmonisation by Paul Hellmuth in ink, “Den anden

DK-Kk, CNS 212c.

melodi følger snarest. Venlig hilsen Deres hengivne

Donated to The Royal Library by Irmelin Eggert Møl-

108

PH.”

added in ink by Paul Hellmuth, circle above

ler in 1958.

system added in red crayon.

34.7x26 cm, 1 folio written in pencil.

Verso: draft (CN) without text (pf.) for No. 76 with

Paper type: 12 staves (hand-ruled).

heading “Op al den Ting”.

Autograph.
o

Recto: draft (pf.) for No. 78 with heading “N 135a”,
MS 33 2171

above top staff circle added in red crayon; draft (pf.)[No. 190 O, hvor jeg er glad i Dag!]

for No. 66 with heading “N 30.”, above top staff cir-

DK-Kk, CNS 209a.

cle added in red crayon.

Verso: draft (pf.) for No. 81 in E major with heading

106 “or (better) No 59 Vaagn op (Kingo)”.
107 “Hymn Book 591”.
108 “The other melody to follow soon. Best wishes
yours sincerely PH.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 358

oo“N 352.”, above top staff circle added in red crayon;
109 “10 Little Songs”

358

22/02/09 8:31:44

odraft (pf.) for No. 53 with heading “N 96”, above top

Recto: fair copy (voice, pf.) of No. 239, stanza 1 below

staff circle added in red crayon.

voice (CN), stanzas 2, 3 below and above voice respectively (foreign hand); some additions in pencil con-

MS 33 2174

cerning the performance of the song (foreign hand).

[No. 66 Korsets Tegn og Korsets Ord, No. 78 O, sad

Verso: text for stanzas 2-4 (CN).

jeg, som Maria sad, No. 81 Ton det, Himmel, syng
det, Jord]

MS 33 2176

DK-Kk, CNS 212b.

[No. 239 Og jeg vil drage fra Sydens Blommer]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 213b.

ler in 1958.

Donated to The Royal Library by Irmelin Eggert Møl-

2 folios:ler in 1958.

34.5x26 cm, 1 folio written in ink, verso blank.

22.5x26 cm, 1 folio, trimmed, written in pencil, verso

7.7x26 cm, 1 folio, trimmed, written in ink, verso blank.

blank.

Paper type:

Paper type: 8 staves (hand-ruled).

fol. 1: 16 staves (hand-ruled).

Autograph.

fol. 2: 3 staves (hand-ruled).

Draft (voice, pf.) for No. 239 with heading “Og jeg vil

Manuscript copy.

drage”, E major, only beginning of stanza 1 below voice.

On fol. 1: manuscript copy without text (pf.) by Paul
Hellmuth for No. 78 with heading “O, sad jeg”, above

MS 33 2177

top staff circle added in red crayon; manuscript copy[No. 71 Nu Sol i Øst oprinder, No. 79 Paa alle dine

without text (pf.) by Paul Hellmuth for No. 66 withVeje]

heading “Korsets Tegn”, above top staff circle added

DK-Kk, CNS 217b.

in red crayon; manuscript copy without text (pf.)

Donated to The Royal Library by Irmelin Eggert Møl-

by Paul Hellmuth for No. 81 with heading “Ton det

ler in 1958.

Himmel”, above top staff circle added in red crayon;

17.5x26 cm, 1 folio, trimmed, written in pencil and ink.

below ﬁnal system “Venlig Hilsen Deres hengivne

Paper type: 2 (6 staves).

110

PM”

added in ink.

Partly autograph.

On fol. 2: manuscript copy without text (pf.) of No.

Recto: draft without text (pf.) for No. 79 with heading

81 bb. 9-12 with heading “De 4 sidste takter af ‘Ton“332”, melody, harmonisaton and text bb. 1-8 written

111

det himmel.’”,below system “Hilsen PH”112 added

in ink.

by CN in pencil, harmonisation bb. 9-16 by Paul Hellmuth in ink, alternative version of b.15 added in ink,
above staff circle added in red crayon.

MS 33 2175

Verso top staff: draft without text (unison song) for[No. 239 Og jeg vil drage fra Sydens Blommer]

No. 79, bb. 13-16 with heading “Slutning af fore-

DK-Kk, CNS 213a.

gaaende”;

Donated to The Royal Library by Irmelin Eggert Møl-

melody, harmonisation and text bb. 1-4 written byler in 1958.

CN in pencil, harmonisation bb. 5-8 by Paul Hell-35.5x27 cm, 1 folio written in ink and pencil.

muth in ink, above system “Her en ny Melodi. Vær

Paper type: B. & H. Nr. 1. A. 6. 13. (12 staves).

saa artig! de ﬁre sidste Takter! Hilsen fra C.N.”

The source has been restored.

added (CN), circle added in red crayon above staff.

113

draft for No. 71 with heading “382”,

114

Partly autograph.
113 “The ending of the previous [bars]”.
114 “Here is a new melody. There you are! the ﬁnal
four bars. Best wishes from C.N.”.

110 “best wishes, yours sincerely PM”.
111 “The four last bars of ‘Ton det himmel.’”112 “Best wishes PH”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 359

359

22/02/09 8:31:45

MS 33 2178

MS 33 2180

[No. 44 Det er et Under paa Verdens Ø, No. 48 Dybt

[No. 125 På det jævne, på det jævne!, No. 156 På dethælder Aaret i sin Gang, No. 50 Forunderligt at sige,jævne, på det jævne!]

No. 57 Gud skal al Ting mage, No. 67 Luk Øjne op, al

DK-Kk, CNS 218c.

Kristenhed!, No. 79 Paa alle dine Veje]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 217c.

ler in 1958.

Donated to The Royal Library by Irmelin Eggert Møl-

34.5x25.8 cm, 1 folio written in pencil, verso blank.

ler in 1958.

Paper type: 12 staves (hand-ruled).

34,7x26 cm, 1 bifolio written in ink and pencil.

Autograph.

Paper type: 2 (12 staves).

Sketch (voice, pf.), early version of Paa det jævne,Autograph.

paa det jævne with heading “Paa det jævne paa det

On fol. 1:jævne”; sketch (unison song), early version of “Paarecto: fair copy of 7 bars of “Fest Præludium Ved Aar-det jævne, paa det jævne”.

115

hundredskiftet.” written by Irmelin Eggert Møller;odraft without text (pf.) for No. 79 with heading “NMS 33 2182

332”, in F major, harmonisation b. 8;[No. 229 Påske-Liljen (Påskeblomst! En Dråbe stærk)]verso: draft without text (pf.) for No. 67 with head-

DK-Kk, CNS 302c.

ing “No. 377”, above staff circle added in red crayon;

Acquired by The Royal Library from the estate of Hen-o.

draft without text for No. 50 (pf.) with heading “N

rik Knudsen in 1947.

93”, above staff circle added in red crayon.

26x17.5 cm, 1 bifolio written in ink.

On fol. 2:

Paper type: 6 staves (hand-ruled).

recto: draft without text (pf.) for No. 57 with head-

Autograph.

oing “N 212”, above staff circle added in pencil; draftoTitle on ﬁrst music page: “Paaske-Liljen. (af Grundtvig.)”.
vr

without text (pf.) for No. 48 with heading “N 298”,

On fols. 1 -2 :above b. 1 “B” added in blue crayon; below b. 5 “ja”

Fair copy (pf.) of No. 229, stanza 1 between staves, F

added in pencil, above staff circle added in pencil;

major.

or

verso: sketch for No. 44 with heading “N 3”, only

On fol. 1 : “Kære Lars! Du bad mig jo om denne Me-

melody, harmonisation in bb. 8-9; sketch with head-lodi. Hvorfor har Du ikke plaget mig for at holde mit

ing “Andantino”, for 2 instruments.

Løfte? Det skal Du skam gjøre en anden Gang; husk
dog paa at det kildrer altid Komponistens Forfænge-MS 33 2179

lighed. ‘Du har forset Dig svart’, men nu kan Du jo[No. 125 På det jævne, på det jævne!, No. 156 På det

lade som om Du bliver ‘forfærdelig glad’ for den, saajævne på det jævne!]

gaar jeg paa den alligevel. Farvel Du gamle Dreng!

DK-Kk, CNS 218a.

Din hengivne Carl N.”

116v

Donated to The Royal Library by Irmelin Eggert Møl-

On fol. 2 : “Musik til Grundtvigs ‘Paaskelilien’ Af

ler in 1958.

Kapelmester ved det kgl. Theater Carl Nielsen” added

17.4x26 cm, 1 folio, trimmed, written in ink.

in ink (foreign hand).

Paper type: 6 staves (hand-ruled).
Autograph.

115 Not in the present edition.
116 “Dear Lars! You did ask me for this melody. Why
didn’t you keep on at me to hold my promise?
You should deﬁnetely do that next time; doremember that this tickles a composer’s vanity.
‘Scoundrel, you should be barred’, but now you
can pretend that you are ‘terribly glad’ about
it, then I shall accept. Goodbye, old boy! Yours
sincerely, Carl N.”.

Fair copy (pf.) of Nos. 125, 156, stanza 1 between
staves.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 360

360

22/02/09 8:31:45

MS 33 2183

Se dig ud en Sommerdag, No. 108 Hør, hvor let dens

[No. 324 Paaske-Liljen (Paaskeblomst! En Draabe stærk]Vinger smækker]

DK-Kk, CNS 302a.

DK-Kk, CNS 88.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler and Anne Marie Telmányi in 1953.

ler in 1958.

25.8x34.7 cm, 1 folio written in ink.

34.5x26 cm, 1 bifolio, written in ink, pencil and blue

Paper type: 12 staves (hand-ruled).

and red crayon.

The source has been restored.

Paper type: 12 staves (hand-ruled).

Autograph.

The source has been restored.

Title page: “Paaske – Liljen. / af / N. F. S. Grundtvig /Autograph.

komponeret for Mandskor / af / Carl Nielsen.”, com-

On fol. 1:

positor’s markings added in pencil.

recto: fair copy (voice, pf.) of No. 87; draft (voice, pf.)

Printing manuscript (vocal score, TTBB on 2 staves)for No. 92;

for No. 324 with heading “Paaske-Liljen”, stanza 1

verso: draft (voice, pf.) for No. 98.

between staves, compositor’s markings added in blue

On fol. 2:

and red crayon; printed text with 3 stanzas attachedrecto: draft (voice, pf.) for No. 108; sketch for No. 106;

to music paper, “Jeg sendte et Aftryk af disse 3 Versverso: draft (voice, pf.) for No. 97 and a list of titles117

med Manuskript.”added in blue crayon (CN).

for Nielsen’s contribution to the ﬁrst volume of A
Score of Danish Songs (which does not correspond to

MS 33 2184

the deﬁnitive distribution).

[No. 324 Paaske-Liljen (Paaskeblomst! En Draabe stærk]DK-Kk, CNS 302b.

MS 33 2187

Photocopy.

[No. 94 Rosen blusser alt i Danas Have]

Manuscript copy without text (vocal score, TTBB on 2

DK-Kk, CNS 219a.

staves) of No. 324 (foreign hand).

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 33 2185

34.5x26 cm, 1 folio written in ink, verso blank.

[Pagen sad paa det høje Slot]

118

Paper type: 14 staves (hand-ruled).

DK-Kk, CNS 355g.

Autograph.

26.2x34.5 cm, 1 folio written in pencil.

Printing manuscript (voice, pf.) for No. 94 with head-

Autograph.

ings “Rosen blusser”, “C N.” respectively, stanzas 1-3

Recto: sketch (voice, pf.) with text Pagen sad paa

below voice, compositor’s markings added in pencil.

det høje Slot stirred’ ud saa vi-de above voice; upside
down: sketch for string quartet with heading “Side119

MS 33 2188
120

No. 104

thema”.

[No. 94 Rosen blusser alt i Danas Have,

Verso: two-part counterpoint exercise.

Højt ligger paa Marken den hvide Sne, No. 105 Nu
springer Vaaren fra sin Seng, No. 106 Se dig ud en

MS 33 2186

121
Sommerdag ][No. 87, De Refsnæsdrenge, de Samsøpiger, No. 92

DK-Kk, CNS 219b.

Vender sig Lykken fra dig, No. 97 Jeg bærer med SmilDonated to The Royal Library by Irmelin Eggert Møl-

min Byrde, No. 98 Nu er Dagen fuld af Sang, No. 106

ler in 1958.

117 “I sent a copy of these three stanzas with themanuscript”.
118 Not in the present edition.
119 “Second theme”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 361

120 Not in the present edition.
121 Not in the present edition.

361

22/02/09 8:31:45

34.5x26 cm, 1 folio written in pencil, ink and red

Korset stod med Smerte, No. 84 Utallige Blomster paa

crayon.

Jorderig gro, No. 85 Verdens Børn har mangt et Sted,

Paper type: 12 staves (hand-ruled).

No. 86 Vor Herre, han er en Konge stor]

Autograph.

DK-Kk, CNS 220.

Recto: draft, (voice, pf.), early version for Rosen blusser

Donated to The Royal Library by Irmelin Eggert Møl-

alt i Danas Have (F major) with heading “Rosen blusser

ler and Anne Marie Telmányi in 1953.

II”; sketch (voice) for No. 105.

35x26.7 cm, 49 folios written in ink, all verso of folios

Verso: draft, early version (pf.) for Se dig ud en sommer-

blank.

dag; draft for No. 104 with heading “Sne-Dronnin-

Autograph.

gen”; sketch for an unidentiﬁed piano piece (3/8).

Title on ﬁrst music page: “Halvhundred Salmer og
aandelige Sange” and “Carl Nielsen” added in pencil

MS 33 2189

(foreign hand), compositor’s markings added in pen-[No. 38 Ak, min Rose visner bort, No. 39 Alt paa den

cil and ink.

vilde Hede, No. 40 Denne er Dagen, som Herren har

Printing manuscript (pf.) for Nos. 38-86, stanza 1 be-gjort!, No. 41 Den store, hvide Flok vi se, No. 42 Der er

tween staves, the other stanzas are mostly printed on

en Bøn paa Jorden, No. 43 Der er en Vej, som Verden

pasted-in, trimmed pages, or added by Nielsen in ink

ikke kender, No. 44 Det er et Under paa Verdens Ø,

beneath the music; several compositor’s markings

No. 45 Det koster ej for megen Strid, No. 46 Dig vil jeg

added in pencil, and few additions in pencil, red andelske, du min Styrke, No. 47 Drag, Jesus, mig, No. 48

blue crayon (CN).

Dybt hælder Aaret i sin Gang, No. 49 Et helligt Liv, ensalig Død, No. 50 Forunderligt at sige, No. 51 Fred med

MS 33 2190

dig! og Fred med eder!, No. 52 Fred og Glæde, for dem[Om jeg elske vil Dig]græde, No. 53 Frisk op! endnu en Gang, No. 54 Glæden

DK-Kk, CNS 355h.

hun er født i Dag, No. 55 Guds Engle i Flok! synger lif-

26x34.6 cm, 1 folio written in pencil and ink.

ligt i Kor, No. 56 Guds Fred er mer end Englevagt, No.

Paper type: 12 staves (hand-ruled).

57 Gud skal al Ting mage, No. 58 Har Haand du lagt

The source has been restored.

på Herrens Plov, No. 59 Har nogen Lyst at kende, No.

Autograph.

60 Herren siger: Er I trætte, No. 61 Herrens Røst var

Recto: sketch for an incomplete song with text frag-over Vandet!, No. 62 Hvi vil du dig saá klage, No. 63

ment “Om jeg elske vil Dig ja ved Stjerners Lys til”.

Jeg fandt en Trøst, No. 64 Jeg raaber fast, o Herre, No.

Verso: sketch for stringquartet with heading “Quar-

65 Jeg ved et lille Himmerig, No. 66 Korsets Tegn ogtet” written in pencil and ink.

122

Korsets Ord, No. 67 Luk Øjne op, al Kristenhed!, No. 68
Maria sad paa Hø og Straa, No. 69 Min Jesus, lad mit

MS 33 2191

Hjerte faa, No. 70 Naar jeg betænker Tid og Stund, No.

[No. 213 I solen går jeg bag min plov]

71 Nu Sol i Øst oprinder mild, No. 72 O, havde jeg dog

DK-Kk, CNS 221d.

tusind Tunger, No. 73 O Helligaand! mit Hjerte, No. 74

Donated to The Royal Library by Irmelin Eggert Møl-

O hør os, Herre, for din Død!, No. 75 O Kristelighed!,

ler in 1958.

No. 76 Op al den Ting, som Gud har gjort, No. 77 Op, I

8.5x24.5 cm, 1 folio, trimmed, written in ink, verso

Kristne, ruster eder!, No. 78 O, sad jeg, som Maria sad,blank.

No. 79 Paa alle dine Veje, No. 80 Som den gyldne Sol

Paper type: 4 staves (hand-ruled).

frembryder, No. 81 Ton det, Himmel, syng det, Jord,

Autograph.

No. 82 Uforsagt, hvordan min Lykke, No. 83 Under
122 Not in the present edition.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 362

362

22/02/09 8:31:46

Printing manuscript (pf.) for No. 213 with headingoAutograph.

“N 727.”, stanza 1 between staves, heading “94.”Fair copy (unison song) for Nos. 179, 197 with head-added in blue crayon, compositor’s marking added ining “No 304”.

violet crayon.
MS 33 2195
MS 33 2192

[No. 106 Se dig ud en Sommerdag, No. 109 Der boede[No. 246 Sang for dansk Arbejde (Føden og Klæden,en Mand i Ribe By]

Baaden og Teltet)]

DK-Kk, CNS 224a.

DK-Kk, CNS 222.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler in 1958.

ler in 1958.

34.5x26 cm, 1 folio written in ink, pencil, blue and34.8x26 cm, 1 folio written in pencil.

red crayon.

Paper type: 12 staves (hand-ruled).

Paper type: 12 staves (hand-ruled).

The source has been restored.

The source has been restored.

Autograph.

Autograph.

Recto: staves 1-8: draft (pf.) for No. 246 with heading

Recto: fair copy (voice, pf.) of No. 106 with changes in“Sang for dansk Arbejde” (foreign hand), stanza 1 be-pencil; sketch for No. 109.

tween the staves; staves 9-12: sketch for an unknown
3
piano piece with heading “Andantino”, 4, B  major.

Verso: blank except for the addition “Bruden fra
123‘Ribe’”.

Verso: staves 1-2: ﬁnal 3 bars continued from recto;
staves 4-11: draft for choral piece (vocal score, SATB,

6

TTBB?), without text, crossed out, 14 bars, 8 , D major.

MS 33 2196
[No. 7 Seraferne (Det har Seraferne: Seraferne harrullet bort de klare Stjerner)]

MS 33 2193

DK-Kk, CNS 225.

[No. 179 Sangen har lysning]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 223a.

ler in 1958.

Donated to The Royal Library by Thorvald Balslev in

34.6x25.9 cm, 1 bifolio, fols. 1 -2 written in pencil,

v

r

r

v

1953.

fols. 1 , 2 blank.

8.5x26 cm, 1 folio, trimmed, written in ink, verso

Paper type: 16 staves (hand-ruled).

blank.

The source has been restored.

Paper type: 5 staves (hand-ruled).

Autograph.

Autograph.

On fol. 1:

Fair copy (pf.) of No. 179, stanza 1 between staves.

verso: incomplete draft (voice, pf.) for No. 7 (the last
2-3 bars missing).

MS 33 2194

On fol. 2:[No. 179 Sangen har lysning, No. 197 Sangen har

recto: sketch with text fragment “Kjender du Pan Jeg

lysning]

har”

DK-Kk, CNS 223c.

6 
68
minor; sketch in , without key signature, text: “DuDonated to The Royal Library by Hakon Andersen in

har bedaaret mit Hjerte min”.

124(J.P. Jacobsen), tempo marking “Allo” i 8 , G

1935.
13.2x26 cm, 1 folio, trimmed, written in ink.

123 “The Bride from ‘Ribe’”.
124 Nielsen’s motto for the piano piece Arabeske
from Five Piano Pieces, Opus 3.

Paper type: 5 staves (hand-ruled).

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 363

363

22/02/09 8:31:46

MS 33 2197

Autograph.

[No. 8 Silkesko over gylden Læst!]125

Fair copy of No. 245 (pf., text between staves) with

DK-Kk, CNS 227c.

heading “Til min lille veninde Sonja Helleberg fra

Donated to The Royal Library by Irmelin Eggert Møl-

Carl Nielsen”.

126

ler in 1958.
34.7x26.1 cm, 1 gathering of 2 bifolios paginated 2-8,

MS 33 2201

written in ink.

[No. 257 Byg paa Sletten, ej paa Tinden, No. 258

Manuscript copy.

Vældige Riger rives om Jorden, No. 259 Solen er saa

Title page: “Partitur / Carl Nielsen: / Op. 6. / Silkesko

rød, Mor]over gylden Læst. / (I.P. Jacobsen.)”, at bottom of page

DK-Kk, CNS 232b.

“Anne Marie Carl-Nielsen” added (Anne Marie Carl-

Donated to The Royal Library by Irmelin Eggert Møl-

Nielsen).

ler in 1958.

Fair copy (orch.) of another version for Silkesko over15.5x27.5 cm, 1 folio, trimmed, written in pencil andgylden Læst.

ink.

34.7x26.1 cm, 21 parts for Silkesko over gylden Læst.

Paper type: 9 staves (hand-ruled).

27x20 cm, 1 folio written in ink.

Autograph.

List of parts for Silkesko over gylden Læst; at bottomof page “Anne Marie Carl Nielsen / Frederiksholms

Recto: draft without text (pf.) written in pencil foroNo. 259 with heading “N 258” in E major, in left

Kanal 28” added in ink (Anne Marie Carl-Nielsen).

margin “for Børnestemmer i F.Dur”

127

added in pencil
128(CN); sketch named “Slutning af en Hornmelodi”.
MS 33 2198

Verso: draft without text (pf.) written in pencil for[No. 20 Skal Blomsterne da visne]

No. 258 with heading “N 210”; draft without textoo(pf.) written in ink for No. 257 with heading “N

DK-Kk, CNS 228b.
32.5x25 cm, 1 bifolio, trimmed, written in ink, fol. 2v195”, “Byg paa sletten” added in pencil (Irmelin Eg-

blank.

gert Møller); sketch for an instrumental piece with

Paper type: 12 staves (hand-ruled).

heading “Leonore / tyrkisk”.

The source has been restored.
Autograph.

MS 33 2202

Title page: “Skal Blomsterne da visne. – / Digt af[No. 424 Solnedgang (Svømmende Skyer, dejlige

Helge Rode / sat i Musik / af / Carl Nielsen.”.

Cyklader)vr

On fols. 1 -2 :DK-Kk, CNS 233b.

fair copy (voice, pf.) of No. 20.

34.5x26 cm, 2 folios written in pencil.
Paper type: 12 staves (hand-ruled).

MS 33 2200

The source has been restored.

[No. 245 Sof sött, du lilla Sonja!]

Autograph.

DK-Kk, CNS 230.

On fol. 1:

Donated to The Royal Library by Irmelin Eggert Møl-

recto: sketch (voice, pf.) for No. 424, bb.11-19, withler in 1958.

heading “An[danti]no”;

16x23.5 cm, photograph of the original manuscript,

verso: sketch on 3 staves, crossed out (see also

original, written in ink.

MS 33 2004).

Paper type: 7 staves, the bottom staff drawn in ink.
126 “For my little friend Sonja Helleberg from Carl
Nielsen”.
127 “For children’s voices in F major”.
128 “The end of a horn melody”.

125 Not in the present edition.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 364

364

22/02/09 8:31:46

MS 33 2203

out text (pf.) for No. 183 with heading “Solen er saa[No. 235 Som Dug paa slagne Enge]rød (258)”.

DK-Kk, CNS 235a.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2206

ler in 1958.

[No. 260 Naar Smaabørn klynker ved Aftentide, No.

c. 6x35 cm, 1 folio, trimmed, written in ink.

373 Jeg ved en Lærkerede, No. 375 Den Spillemand

Paper type: 2 staves (hand-ruled).

spiller paa Strenge]

The source has been restored.

DK-Kk, CNS 98b.

Autograph.

Donated to The Royal Library by Irmelin Eggert Møl-

Fair copy without text (pf.) of No. 235, with heading

ler in 1958.

“Som Dug paa slagne Enge”, melody written by CN,

22x25.9 cm, 1 folio, trimmed, written in pencil.

harmonisation by Paul Hellmuth.

Autograph.
Recto: draft without text (vocal score, SA on 1 staff)ofor No. 375 with heading “N 262”; draft without text

MS 33 2204
[No. 138 Som dybest Brønd gir altid klarest Vand, No.
129(vocal score, SA on 1 staff) for No. 373 with headingo

169 Som dybest brønd gir altid klarest vand]“N 249”; sketch for pf.; sketch for an unidentiﬁed

DK-Kk, CNS 236b.

instrumental piece with heading “Allegretto”.

Donated to The Royal Library by Hakon Andersen in

Verso: draft without text (pf.?) for No. 260 with head-1935 (?).

ing “264” in G major.

11.6x26 cm, 1 folio, trimmed, written in ink, verso
blank.

MS 33 2207

Paper type: 4 staves (hand-ruled).

[No. 185 Spurven sidder stum bag Kvist]

Autograph.

DK-Kk, CNS 240b.

Fair copy (unison song) of Som dybest Brønd gir altidoDonated to The Royal Library by Thorvald Balslev inklarest Vand with heading “N 290”, stanza 1 below

1953.

system.

34.7x26 cm, 1 folio written in pencil.
Paper type: 16 staves (hand-ruled).

MS 33 2205

The source has been restored.

[No. 183 Solen er saa rød, Mor, No. 186 Den Spille-

Autograph.

mand spiller paa Strenge, No. 187 Naar Smaabørn

Recto: draft without text (voice, pf.) for No. 185 withklynker ved Aftentide]

heading “Spurven sidder stum bag Kvist”.

DK-Kk, CNS 98a.

Verso: letter to Harald Balslev from CN, draft for

Donated to The Royal Library by Irmelin Eggert Møl-

Harald Balslev’s “Foraarsluften”.

ler in 1958.
35x26 cm, 1 folio written in pencil.

MS 33 2208

Paper type: 12 staves (hand-ruled).

[No. 370 Spurven sidder stum bag Kvist]

Autograph.

DK-Kk, CNS 240d.

Recto: draft without text (voice, pf.) for No. 186 withoDonated to The Royal Library by Irmelin Eggert Møl-heading “N 262”, heading “Den Spillemand spiller

ler in 1958.

paa” added (foreign hand).

25.5x16.7 cm, 1 folio, trimmed, recto written in pen-

Verso: draft without text (voice, pf.) for No. 187 withcil, verso written in ink and pencil.

heading “Naar Smaabørn klynker (264)”; draft with-

Paper type: 10 staves (hand-ruled).

129 Not in the present edition.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 365

365

22/02/09 8:31:46

Autograph.

Donated to The Royal Library by Irmelin Eggert Møl-

Recto: draft without text (vocal score, SSA on 2 staves)

ler in 1958.

for No. 370, headings “(‘Danmark’ 225) Spurven sid-

35.7x27 cm, 1 bifolio written in pencil, fols. 1 , 2

der stum bag Kvist” added in foreign hand.

blank.

Verso: fair copy of Harald Balslev’s “Forårsluften” andPaper type: B.& H. Nr. 18. A. 1.12. (10 staves).

“Nu skinner Sol.” with corrections in pencil (CN).

Autograph.

v

r

r

On fol. 1 : draft without text (pf.) for No. 41.
v

MS 33 2209

On fol. 2 : sketch for No. 41 with heading “Den store[No. 425 Stille, Guds Folk, o bøj dig ned]

hvide Flok”, crossed out, without harmonisation;

DK-Kk, CNS 242.

sketch for No. 64 with heading “N . 467?=637. = 632.”,

Donated to The Royal Library by Irmelin Eggert Møl-

above system “Versemaal: Fred hviler over Land og

ler in 1958.

By”

o

131

and above top system circle added in red crayon.

35.5x25.5 cm, 1 folio written in pencil, verso blank.
Paper type: B.& H. Nr. 14. A. / 7.09. (24 staves).

MS 33 2212

Autograph.

[No. 20 Skal Blomsterne da visne, No. 21 Høgen

Draft (pf.) for No. 425, heading “Stille, Guds Folk, o bøj(Vær hilset Høg over Granetop), No. 22 Jens Vejmand

dig ned” added (foreign hand); on ordinary paper stan-(Hvem sidder der bag Skjærmen), No. 23 Sænk kun

zas 1-4 for No. 425 written in ink, below ﬁnal stanza

dit Hoved, du Blomst, No. 24 Den første Lærke, No.

“Efter den græske St. Jakobs Liturgi / fra 4. Aarh; frit

25 Husvild (Gi Husly til to Persowner), No. 26 Godnat

130

ved I.A. 1908.”,

at top left corner “P. Brodersen, /Spjarupgaard. /telefon: Egtved Nr. 13.” in print.

(No wil a sej Jer Godnæt)]DK-Kk, CNS 243.
Donated to The Royal Library by Randi Teglbjærg in

MS 33 2210

1974.

[No. 41 Den store, hvide Flok, No. 76 Op al den Ting]

34.5x26 cm, 15 folios, paginated 1-3 (No. 20), 1-3 (No.

DK-Kk, CNS 99b.

21), 1-7 (No. 22), 1-2 and 1 unpaginated page (No. 23),

Donated to The Royal Library by Irmelin Eggert Møl-

1-2 (No. 24), 1-3 (No. 25), 1-4 (No. 26); written in ink.

ler in 1958.

Paper type: 12 staves (hand-ruled).

35.5x26.7 cm, 1 folio written in pencil and ink.

The source has been restored.

Paper type: 10 staves (hand-ruled).

Autograph.

Partly autograph.

Printing manuscripts (voice, pf.).

Recto: draft without text (pf.) for No. 41 with heading

Titles:“Den store, hvide Flok”, melody written in pencil, har-No. 20: Title page: “N 1 / Skal Blomsterne da visne. /monisation by Paul Hellmuth in ink, ﬁrst staff bb. 1-4
B major changed to B major in ink, bb. 5-16 B major.

af / Carl Nielsen.”, at top of page “Bedes snarest sendt

Verso: draft without text (pf.) for No. 76 with heading

compositor’s markings added in pencil.

“Op al den Ting.”, melody written in pencil by CN,

No. 21: Title on ﬁrst music page: “N 2. / Høgen. / Der

harmonisation by Paul Hellmuth in ink.

Adler.”otil Hr. Carl Nielsen”

132

added in pencil (foreign hand),ooNo. 22: Title on ﬁrst music page: “N 3 / Jens VejMS 33 2211

mand. / (Der alte Steinklopfer).”[No. 41 Den store, hvide Flok, No. 64 Jeg raaber fast,No. 23: Title page: “N 4 / Sænk kun dit Hoved duo Herre]Blomst. / af / Carl Nielsen.”o

DK-Kk, CNS 99c.
131 “Metre: Fred hviler over Land og By”.
132 “Please, send it as soon as possible to Mr. Carl
Nielsen”.

130 “Based on the Greek St Jacob’s liturgy / 4th
century; freely by F.A. 1908.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 366

366

22/02/09 8:31:46

oNo. 24: Title on ﬁrst music page: “N 5 / Den første

MS 33 2215

Lærke. / Die erste Lerche.”[No. 23 Sænk kun dit Hoved, du Blomst]
oNo. 25: Title on ﬁrst music page: “N 7 6 / Husvild. /DK-Kk, CNS 246b.

Gebt Obdach!”Donated to The Royal Library by Elisabeth HäuﬂeinoNo. 26: Title on ﬁrst music page: “N 6 7 / Godnat /Hvidt in 1965.

Gute Nacht”; at top of page “Hele Heftet alle 7 skal

35.3x27.2 cm, 1 bifolio, fols. 1 -2 written in ink, fol. 2

133have Opustallet 20”

added (CN), “Hr. Carl Nielsen. /rr

blank.

For at undgaa at vende 2 Gange i / ‘Godnat* kan den-Paper type: B. & H. Nr.5 A. (12 staves).

ne maaske ombyttes med / Nr. 7, som gjort er [illegible

The source has been restored.

134

signature]”

added in pencil (compositor?). “* Ja, det
135

kan De godt! / Carl Nielsen”

added in pencil (CN).

Datings: No. 21: “Kolding 16/7 07”.

v

Autograph.
Title page: “‘Sænk kun dit Hoved, du Blomst’ / Digt af
Johannes Jørgensen / Musik af / Carl Nielsen.”.
Fair copy (voice, pf.) of No. 23, stanzas 1-3 written

MS 33 2213

below voice.

[No. 238 Studie efter Naturen (Solen skinner i Naboens Gaard)]

MS 33 2216

DK-Kk, CNS 244.

[No. 23 Sænk kun dit Hoved, du Blomst]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 246c.

ler and Anne Marie Telmányi in 1953.

Donated to The Royal Library by Margrethe Schnohr

34.5x25.8 cm, 2 folios written in ink, pencil, blue andnée Dorph Petersen in 1935.

v

v

v

red crayon, fol. 1 blank.

34.5x26 cm, 1 bifolio written in ink, fols.1 -2 blank.

Paper type: 12 staves (hand-ruled).

Paper type: 12 staves.

The source has been restored.

The source has been restored.

Autograph.

Autograph.

Printing manuscript (voice, pf.) for No. 238 withTitle on ﬁrst music page: “Sænk kun dit Hoved duheading “Studie efter Naturen”, printer’s additions in

Blomst.”pencil and blue crayon, additions in red crayon (CN).

Fair copy (voice, pf.) of No. 23, stanzas 1-3 written
below voice.

MS 33 2214
[No. 108 Hør, hvor let dens Vinger smækker]

MS 33 2217

DK-Kk, CNS 245a.

[No. 23 Sænk kun dit Hoved, du Blomst]

34.5x25.5 cm, 1 folio written in ink, verso blank.

DK-Kk, CNS 246d.

Paper type: 12 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Autograph.

34.5x26 cm, 2 folios, fol. 1 written in blue crayon,

r

r

v

v

Fair copy (voice, pf.) of No. 108 with headings “Sva-fol. 2 written in pencil, fols. 1 , 2 blank.

len.”, stanzas 1-2 below voice, stanzas 3-6 below ﬁnal

Paper type: 12 staves (hand-ruled).

system.

The source has been restored.
Autograph.
133 “The whole volume, all seven must have theOpus number 20”.
134 “Mr. Carl Nielsen. / In order to avoid page turn
twice in / ‘Godnat* this one may be swopped
with / No. 7, as it has been done [illegible
signature]”.
135 “* Yes, you may! / Carl Nielsen”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 367

136

Dating: “8/12 1903 10 Min”.

136 Perhaps referring to the duration of the composition (10 min.).

367

22/02/09 8:31:47

On fol. 1: draft (voice, pf.) for No. 23, stanzas 1-3 writ-

MS 33 2220

ten below each other below the voice.

4
On fol. 2 : sketch for “Chor” and “Bassi” in 4 , C major[No. 101 Tidt er jeg glad, No. 390 Hymne til Danmark

key signature.

DK-Kk, CNS 248a.

r(Danmark i tusind Aar)]
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2218

ler in 1958.

[No. 290 Sænk kun dit Hoved, du Blomst]

26x17.5 cm, 1 folio, written in ink and blue crayon.

DK-Kk, CNS 246f.

Paper type: 9 staves (hand-ruled), recto: 1 staff added

Acquired by The Royal Library from music publisher

in ink below staff 9.

Knud Larsen in 1960.

The source has been restored.
r34.8x26 cm, 2 folios, written in ink, fol. 3 paginatv

Autograph.

ed 3, fol. 2 blank.

Recto: fair copy (voice, pf.) of No. 101.

Paper type: 12 staves (hand-ruled).

Verso: draft (vocal score, SA on 1 staff) for No. 390,

The source has been restored.

corrections in red crayon.

Autograph.
Fair copy (orch. score, voice, ﬂ., fg., vl., va., vc.) of No.

MS 33 2221

290, stanza 1 below voice, with heading “Quasi alle-[No. 101 Tidt er jeg glad]

gretto”.

DK-Kk, CNS 248b.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2219

ler in 1958.

[No. 290 Sænk kun dit Hoved, du Blomst]

26x17.5 cm, 1 folio, written in mauve crayon.

DK-Kk, CNS 246g.

Paper type: 8 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Autograph.

34x27 cm, 1 bifolio written in ink, ﬁnal page blank.

Draft without text (voice, pf.) for No. 101.

Paper type: No. 9. F. 24 (24 staves).
Manuscript copy.

MS 33 2222

Title page: “Carl Nielsen / Sænk kun dit Hoved / in-[No. 3 Til Asali (Før drømte jeg fast hver eneste Nat)]

strumentation: / Komponisten”.

DK-Kk, CNS 249.

Manuscript copy (orch. score, voice, ﬂ., fg., vl., va., vc.)

Donated to The Royal Library by Irmelin Eggert Møl-

of No. 290.

ler in 1958.

Enclosed with the score:

35x26 cm, 1 bifolio written in pencil, fols. 1 -2 blank.

Manuscript copy of parts (ﬂ. 1, 2, fg. 1, 2, vl. 1 (4), vl.2

Paper type: 12 staves (hand-ruled).

(3), va. (2) and vc. (2)) for No. 290.

The source has been restored.

Miscellaneous formats of trimmed manuscript paper

Autograph.

with writings in ink, pencil, and red and blue crayon.

On fols. 1 , 2 : sketch for No. 3.

The desks are numbered differently: numbers added

On fol. 2 : sketch for an unidentiﬁed instrumentalv

in pencil by Nielsen, numbers in red crayon by a

r

r

v

v

6
piece in 8 in E minor.

foreign hand; fg. 2 verso: “Fag II” added in pencil by
Nielsen. Some of the dynamic markings may have

MS 33 2223

been added by Emil Telmányi.

[No. 330 Den danske Sang er en ung, blond Pige, No.
331 Til min Fødeø (Blidt vugges du i Himmelseng)]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 368

368

22/02/09 8:31:47

v

DK-Kk, CNS 306a.

On fol. 4 :Donated to The Royal Library by Irmelin Eggert Møl-sketch for string quartet in G minor;

137

sketch (uni-ler in 1958.

4
son song), G major, 4 with the text “O, Skovmand

33.6x26.4 cm, 1 folio written in ink on illustrated

spar det gamle Træ”.

paper headed “EXPOSTITION UNIVERSELLE”.
Paper type: 9 staves (recto).

MS 33 2225

15 staves (verso).

[No. 214 Til mit Hjertes Dronning (Skal vi vandre

Autograph.

en Stund), No. 218 Vejviseren synger (Tilfjelds over

Dating: “27/11 29.”

Bygden staar min Hu]

Recto: fair copy (vocal score, TTBB on 2 staves) of No.

DK-Kk, CNS 250b.

331 with stanza 1 between staves, stanzas 2-3 written

Donated to The Royal Library by Irmelin Eggert Møl-

below ﬁnal staff, stanza 4 written on pasted-in paper.

ler in 1958.

Verso: fair copy (vocal score, TTBB on 2 staves) of No.

26.2x34.8 cm 2 folios, fols. 1 -2 written in ink, fol. 2

330 with stanza 1 between staves.

written in pencil.

r

r

v

Paper type: 10 staves (hand-ruled).
MS 33 2224

The source has been restored.

[No. 214 Til mit Hjertes Dronning (Skal vi vandre

Autograph.

en Stund), No. 215 Serenade (See! Luften er stille),

On fol. 1 :No. 216 Tag jer iagt for Anna! (I Knøse! tag, det raader

fair copy of No. 214 with heading “‘Til mit Hjertesjeg), No. 217 Min Sjæl er mørk]

Dronning’ Digt af Shelley”, stanza 1 below voice.

DK-Kk, CNS 250a.

On fols. 1 -2 :Donated to The Royal Library by Irmelin Eggert Møl-

fair copy of No. 218 with heading “‘Vejviseren synger’

ler in 1958.

Digt af Velhaven.”

r

v

v

r

26.5x35 cm, 4 folios, fols. 1 -4 written in ink, fol. 4vwritten in pencil.

rv

On fol. 2 : an unidentiﬁed sketch (voice, pf.), G major,

44 , beginning of text: “To Bølger”.

Paper type: 9 staves (hand-ruled).
The source has been restored.

MS 33 2226

Autograph.

[No. 49 Et helligt Liv, en salig Død, No. 53 Frisk op!

r

On fol. 1 :endnu en Gang, No. 55 Guds Engle i Flok! synger

fair copy (voice, pf.) of No. 214 with heading “‘Til mit

liﬂig i Kor, No. 68 Maria sad paa Hø og Straa, No. 70

Hjertes Dronning’ Digt af Shelley”, stanza 1 below

Naar jeg betænker Tid og Stund, No. 71 Nu Sol i Øst

voice; additions in pencil.

oprinder mild, No. 81 Ton det, Himmel, syng det,v

r

On fols. 1 -2 :Jord, No. 85 Verdens Børn har mangt et Sted]fair copy (voice, pf.) of No. 215 with heading “‘Sere-

DK-Kk, CNS 251d.

nade’ af J. Callanan”, stanza 1 below voice.

Donated to The Royal Library by Irmelin Eggert Møl-vr

On fols. 2 -3 :ler in 1958.

fair copy (voice, pf.) of No. 216 with heading “‘Tag jer

34,5x26 cm, 1 bifolio written in pencil.

iagt for Anna’ Digt af Robert Burns”, stanza 1 below

Paper type: 12 staves (hand-ruled).

voice.

Autograph.
vr

On fols. 3 -4 :On fol. 1:

fair copy (voice, pf.) of No. 217 with heading “‘Min

recto: draft without text (pf.) for No. 81 with heado
ings “Ton det, Himmel” and “N 352”, in E major,Sjæl er mørk’ Digt af Byron”, stanza 1 below voice.

137 Published in CNU IV/1.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 369

369

22/02/09 8:31:47

above top system circle added in red crayon; draft

34.9x26.2 cm, 1 bifolio written in pencil and ink.

without text (pf.) for No. 71 with heading “Nu Sol i

Paper type: 12 staves (hand-ruled).

oØst” and “N 382”, in F major, above top system circle

The source has been restored.

added in red crayon;

Autograph.
overso: sketch for No. 68 with heading “N 110”, noOn fol. 1:

harmonisation, “Maria sad paa Hø” added (foreign

recto: sketch for an instrumental piece written inohand); sketch for No. 49, headings “N 118” andpencil; draft without text (voice, pf.) for No. 184 with

“Salme, Et Helligt Liv” added (foreign hand), above

heading “N 125”, written in pencil, heading “Tyst

top system circle added in pencil.

som Aa” added in pencil (foreign hand);On fol. 2:

verso upside down: draft without text (pf.) for No. 250

recto: draft without text (pf.) for No. 70 with head-

written in pencil, heading “Skitse til ‘Hvad synger du

o

o

138

ing “N 289”, text in bb. 1-4, above top system circle

om’”

added in pencil; sketch for No. 70 crossed out; sketch

On fol. 2:

with heading “169?”;

recto: 2 bars of Emil Horneman’s Dengang jeg drogoverso: sketch for No. 53 with heading “N 96”; draftoadded in pencil (Irmelin Eggert Møller).

afsted, written in ink; rejected sketch without text for(pf.) for No. 55 with heading “N 99 (E Dur)”, text in

Der er et yndigt Land, written in ink and pencil, notﬁnal bar, above top system “Guds Engle i Flok” added

identical with No. 262.

(foreign hand), and circle added in red crayon; draft

verso: rejected sketch without text (pf.) for Der er etofor No. 85 (pf.), headings “N 78” and “Verdens Børn

yndigt Land, written in pencil, not identical with No.

har mangt et Blad” added (foreign hand and Irmelin

262; rejected sketch for Der er et yndigt Land with head-

Eggert Møller), in F major, above top system “Verdens

ing “II”, not identical with No. 262; draft without text

børn har mangt et Sted” added by Irmelin Eggert(pf.) for No. 262 with heading “III”, heading “Der er etMøller, text fragment.

yndigt Land” added in pencil (Irmelin Eggert Møller).

MS 33 2227

MS 33 2229

[No. 184 Tyst som Aa i Engen rinder][No. 212 Ud går du nu på livets vej]

DK-Kk, CNS 254a.

DK-Kk, CNS 255b.

Donated to The Royal Library by Irmelin Eggert Møl-

Donated to The Royal Library by Irmelin Eggert Møl-ler in 1958.

ler in 1958.

35.4x26 cm, 1 folio written in ink, verso blank.

9x23.3 cm, 1 folio, trimmed, written in ink, verso blank.

Paper type: 12 staves (hand-ruled).

Paper type: 6 staves.

Autograph.

Autograph.

Fair copy (voice, pf.) of No. 184 with heading “Tyst

Printing manuscript (pf.) for No. 212 with heading

som Aa i Engen rinder.”, stanza 1 below voice, head-“N 682”, heading “85” added in blue crayon, belowoing “(N 125)” added in pencil (CN).

oﬁnal system “Copyright 1915 by Wilhelm Hansen
Leipzig” added (foreign hand).

MS 33 2228
[No. 184 Tyst som Aa i Engen rinder, No. 250 Hjemlige

MS 33 2230

Jul, straaler Du nu!, No. 262 Der er et yndigt Land][No. 88 Ud gaar du nu paa Livets Vej, No. 107 Der

DK-Kk, CNS 254b.

dukker af Disen]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 255a.

ler in 1958.
138 “Sketch for ‘Hvad synger du om’”; apparently
Irmelin was wrong there.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 370

370

22/02/09 8:31:47

Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2233

ler in 1958.

[No. 43 Der er en Vej, som Verden ikke kender, No. 58

34.5x26 cm, 1 folio, written in pencil.

Har Haand du lagt paa Herrens Plov, No. 82 Uforsagt,

Paper type: 12 staves (hand-ruled).

hvordan min Lykke]

Autograph.

DK-Kk, CNS 257c.

Recto: draft (voice, pf.) for No. 88 with heading “Ud

Donated to The Royal Library by Irmelin Eggert Møller

gaar du nu paa Livets Vej. Pag 276)”.

in 1958.
oVerso: sketch for No. 107 with heading “N 4 / Der

22.7x26 cm, 1 folio, trimmed, written in pencil.

dukker af Disen (Pag 120)”.

Paper type: 8 staves (hand-ruled).
Autograph.

MS 33 2231

Recto: draft without text (pf.) for No. 82 with head-[No. 312 Udrundne er de gamle Dage]ings “Uforsagt.” and “N 600”, circle above top staff

DK-Kk, CNS 256b.

added in red crayon.

Donated to The Royal Library by Irmelin Eggert Møl-

Verso: draft without text (pf.) for No. 43 with head-ler in 1958.

ings “Der er en Vej.” and “N 661”, circle added above

o

o

v

34.6x25.8 cm, 1 bifolio written in ink, fol. 2 blank.

b. 4 in red crayon; draft without text (pf.) for No. 58

Paper type: 12 staves (hand-ruled).

with heading “N519”.

Autograph.
Title page: “Udrundne er de gamle Dage / for / Bl. Kor

MS 33 2234

/ Carl Nielsen”.

[No. 83 Under Korset stod med Smerte]

Fair copy (vocal score, SATB on 2 staves) of No. 312

DK-Kk, CNS 258b.

with heading “Udrundne er de gamle Dage”, stanza 1

Donated to The Royal Library by Irmelin Eggert Møller

between staves, stanzas 2-3 below ﬁnal system; on fol.

in 1958.

r

det

34.7x25.9 cm, 1 folio written in pencil.

diePaper type: 2 (12 staves).

2 “Kære Hr. H. / Roligt, men dog fast og frejdigt. / 2

Vers lidt mere dæmpet, og derpaa atter stærkere i 3
139/ Hilsen Deres / C.N.”

added in ink (CN).

Autograph.
Recto: draft without text (pf.) for No. 83 with headingob

MS 33 2232

“N 145 ”, text fragments, above heading “Grandjean”[No. 312 Udrundne er de gamle Dage]

added in pencil (CN).

DK-Kk, CNS 256c.

Verso: sketch with heading “Melodi”, without harmo-

Donated to The Royal Library by Irmelin Eggert Møl-nisation; upside down: 3 sketches for vocal parts in

ler in 1958.

Symphony No. 3 Op. 27, second movement.

34.9x26 cm, 1 folio written in pencil.
Paper type: 12 staves (hand-ruled).

MS 33 2235

Autograph.

[No. 155 Vi ﬁk ej under tidernes tryk, No. 227 De un-

Recto: draft without text (vocal score, SATB on 2

ges sang (Vi ﬁk ej under tidernes tryk), No. 360 Vi ﬁkstaves) for No. 312, heading “Udrundne er de gamle

ej under Tidernes Tryk]

Dage” added (Irmelin Eggert Møller).

DK-Kk, CNS 90b.

Verso: sketch on 2 staves; sketch on 1 staff; sketch on

Donated to The Royal Library by Alfred Nielsen in 1935.

2 staves; for unidentiﬁed instrumental pieces.

26x17.3 cm, 1 bifolio written in ink, fols. 1 , 2 blank.

rv

Paper type: 6 staves.
139 “Dear Mr. H. / Quietly, but still ﬁrmly andcheerfully. / Second stanza a little more quiet,
and then again louder in the third stanza / Bestwishes yours sincerely / C.N.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 371

Autograph.

371

22/02/09 8:31:48

Title on ﬁrst music pages: “De unges Sang”.

Paper type: 12 staves.

Fair copy (unison song) of Nos. 155, 227, 360, stanza

The source has been restored.

1 below staff, at top right margin “56” added in ink,

Autograph.

v

on fol. 2 “N.H. R. / Rosengaarden / Nr / Kølstrup St.”

Recto: draft (pf.) for No. 274 with heading “‘Vi Jyder’”added in pencil (CN).

(Irmelin Eggert Møller), beginning of stanza 1 between staves, additions and corrections in ink andMS 33 2236

blue crayon.

6[No. 423 Velkommen Lærkelil]

Verso: sketch, piano notation, 8 , E minor/G major

DK-Kk, CNS 262b.

(foreign hand).

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

MS 33 2239

18x26.4 cm, brown envelope addressed to Nielsen,[No. 204 Vi sletternes sønner har drømme i sind]verso written in pencil.

DK-Kk, CNS 267.

Paper type: 1 staff (drawn in pencil).

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Dating on envelope: 23.12.28.

23.5x24.5 cm, 1 folio, trimmed, written in ink, verso

Verso: sketch without text (unison song) for No. 423

blank.

with heading “Velkommen Lærkelil”, “Tekst af Chr.

Paper type: 8 staves (hand-ruled).

Richardt” added in pencil (foreign hand).

Autograph.
Printing manuscript (pf.) for No. 204 with headingoMS 33 2237

“N 460”, heading “32” added in blue crayon, com-

[No. 247 Du frie, danske Tunge]

positor’s markings added in pencil.

DK-Kk, CNS 265a.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2240

ler in 1958.

[No. 267 Vocalise-Etude, No. 268 Dansk Vejr (Sus af

34.8x26 cm, 1 folio written in pencil.

Vind og Bølgeslag)]

Paper type: 12 staves (hand-ruled).

DK-Kk, CNS 270.

The source has been restored.

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler in 1958.

Recto: draft without text for No. 247 with head-

3 folios paginated 1-5 (fol. 3 unpaginated) written ining “Vi frie Folk fra Norden” (i.e. the text to which

pencil and ink.

Nielsen originally wrote this melody), two sketches

fol. 1: 35x26 cm 12 staves (hand-ruled).

for instrumental pieces.

fol. 2: 35.5x27 cm 12 staves (hand-ruled).

Verso: sketches for Prelude, Theme and Variations for Solofol. 3: c. 21.5x26 12 staves (hand-ruled), trimmed.

Violin, Op. 48.

The source has been restored.

v

Autograph.
MS 33 2238

Dating: “17-7-27” (No. 267).

[No. 274 Vi Jyder (Vi er Jyder, Børn af Landet]

On fols. 1 -3 : draft for No. 267; fol. 1 contains an

DK-Kk, CNS 339a.

unﬁnished horn part for the wind quintet, Op. 43.

Donated to The Royal Library by Irmelin Eggert Møl-

On fol. 3 : draft for No. 268 with heading “Sus af

ler in 1958.

Vind og Bølgeslag.” added in ink, stanza 1 added in

34.2x25.2 cm, 1 folio written in pencil.

ink between staves.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 372

r

r

v

v

372

22/02/09 8:31:48

MS 33 2241

DK-Kk, CNS 275a.

[No. 72 O, havde jeg dog tusind Tunger, No. 86 Vor

Donated to The Royal Library by Anker Olesen in 1967.

Herre, han er en Konge stor]

34.2x27 cm, 1 folio written in ink, verso blank.

DK-Kk, CNS 271b.

Paper type: 18 staves (hand-ruled).

Donated to The Royal Library by Irmelin Eggert Møl-

The source has been restored.

ler in 1958.

Autograph.

35.5x27.4 cm, 1 folio written in pencil and ink, verso

Fair copy (voice, pf.) of No. 193 with title “Wo Dæt-blank.

ter.”, stanza 1 below voice; fair copy of No. 194 with

Paper Type: 22 staves (hand-ruled?).

title “Den jenn å den anden.”, stanza 1 below voice.

Partly autograph.
Draft without text (pf.) for No. 86 with heading

MS 33 2244o

“N 155”, melody written in pencil by CN, harmonisa-[No. 193 Wo Dætter (Hun ær så møj en hwalle Piig),

tion by Paul Hellmuth in ink, text in bb. 1-2 written by

No. 194 Den Jenn å den Anden (Den jenn ska studier

CN in pencil, above top system circle added in red cray-bådde Græsk å Latin)]oon; draft without text (pf.) for No. 72 with heading “N

DK-Kk, CNS 275b.

14”, melody written by CN in pencil, harmonisation by

Donated to The Royal Library by Irmelin Eggert Møl-

Paul Hellmuth in ink, text fragment written by CN in

ler in 1958.

pencil, above top system circle added in red crayon.

13.3x27 cm, 1 folio, trimmed, written in ink.
Paper type: 6 staves.

MS 33 2242

Autograph.

[No. 93 Vor Verden priser jeg tusindfold, No. 95 Sov

Recto: draft without text (voice, pf.) for No. 193 withind mit søde Nusseben!]title “Wo Dætter”, corrections in ink and pencil (CN).

DK-Kk, CNS 272.

Verso: draft without text (voice, pf.) for No. 194 with

Donated to The Royal Library by Irmelin Eggert Møl-

title “Den jenn å den anden”.

ler in 1958.
34.5x26 cm, 1 folio written in pencil and blue andMS 33 2245

red crayon.

[No. 1 Solnedgang (Svømmende Skyer, dejlige Cykla-

Paper type: 12 staves (hand-ruled).

der, No. 6 Genrebillede (Pagen højt paa Taarnet sad),

The source has been restored.

No. 14 Sang bag Ploven (I solen gaar jeg bag min Plov)]

Autograph.

DK-Kk, CNS 252.

Recto: draft (voice, pf.) for No. 93, bb. 1-8 with head-

Donated to The Royal Library by Irmelin Eggert Møl-

ing “Vor Verden priser jeg tusindfold”; draft (voice,ler in 1958.

pf.) for No. 95.

34.9x26.1 cm, 1 gathering of 2 bifolios, fol. 1 unpagi-

Verso: draft (voice, pf.) for No. 93, bb. 9-13; sketch

nated, fol. 2 paginated (3), fols. 2 -4 unpaginated;with text fragment “Kan aldrig fattes Penge” (textwritten in ink.

from “En Sømand med et modigt Bryst”), not identi-

Paper type: 12 staves (hand-ruled).

cal with No. 409.

2 fold marks: 1 horizontal and 1 vertical (source

r

v

v

folded twice).
MS 33 2243

Manuscript copy.

[No. 193 Wo Dætter (Hun ær så møj en hwalle Piig),

Title page: “Tre Sange. / Solnedgang. / Sang bag Plo-No. 194 Den Jenn å den Anden (Den jenn ska studier

ven. / Genrebilleder. / Carl Nielsen.”, “Herold” addedbådde Græsk å Latin)]in blue crayon.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 373

373

22/02/09 8:31:48

Manuscript copy (voice, pf.) of Nos. 1, 6, 14.

Fair copy (vocal score, S solo, TTBB on 3 staves) of No.

The source, which presumably was made after 1897

327, with text below S solo and between T and B.

141

or 1898, has been used as performance material, a
few corrections and additions in pencil; the songs

MS 33 2248

are transposed versions of the originals.

[No. 328 Hil dig vor Fane!]
DK-Kk, CNS 296a.

MS 33 2246

Photocopy.

[No. 116 Udrundne er de gamle Dage, No. 137 Tunge,

Autograph.

mørke natteskyer, No. 138 Som dybest Brønd gir altid

Title page: “Hil dig vor Fane! / komponeret / (forklarest Vand, No. 140 Udrundne er de gamle Dage]

Mandskor) / af / Carl Nielsen. / (Digt af Grundtvig)”.

DK-Kk, CNS 123.

Fair copy (vocal score, TTBB on 2 staves) of No. 328

Donated to The Royal Library by Irmelin Eggert Møl-

with stanza 1 between staves, stanzas 2-4 written

ler in 1958.

below ﬁnal staff.

142

35.5x27 cm, a gathering of 1 bifolio and 2 folios; title
page, blank, 1-3, 3 blank pages; written in ink.

MS 33 2249

Paper type: B.& H. Nr. 18. A. / 7.14. (10 staves).

[No. 332 Kvadet om Nordens Harpe (Nordens herlige

Autograph.

Harpe!)]

Title page: “Carl Nielsen / Fire folkelige Melodier / til

DK-Kk, CNS 299a.

de danske Højskoler / med Tekster af N.S. Grundtvig,

Donated to The Royal Library by Anders Rachlew in

Jakob Knudsen / og / Jeppe Aakiær.”1958.

On fol. 2:

34.5x26.2 cm, 1 bifolio paginated 1-3, title page un-recto: fair copy (voice, pf.) of No. 137 with heading “Ipaginated, written in ink, in library binding.

Tunge, mørke Nattesky’r”, stanzas 1-3 below voice,

Autograph.

stanza 4 added in ink below ﬁnal system (CN);

Title page: “Kvadet om Nordens Harpe. / Ordene af

verso: fair copy (pf.) of Nos. 116, 140 with heading

Aage Berntsen / Tonerne / komponeret for Mandskor“II / Udrundne er de gamle Dage.”, stanza 1 between/ af / Carl Nielsen.”, at top of page “Skandinavisk

staves, stanzas 2-3 added after ﬁnal bar (CN), theMandskorstævne / 29-31 Mai 1931 I anledning af /staves with music crossed out in ink and “solgt til‘“Bel Canto’’s 25 Aar Jubilæum” added in pencil and140

Nordens Musik.”

added in ink (CN).

underlined in blue crayon (CN).

On fol. 3:

Fair copy (vocal score, TTBB on 4 staves) of No. 332,

recto: manuscript copy (voice, pf.) for No. 138 withstanzas 1-4 below each staff, corrections in red ink.

heading “III”, stanza 1 below voice, stanzas 1-4, of
which stanza 1 is crossed out in ink, print on a past-

MS 33 2250

ed-in paper, trimmed, and “(Jeppe Aakjær)” added in[No. 332 Kvadet om Nordens Harpe (Nordens herligeink (CN).

Harpe!), No. 378 Traaden brister, Rokken staar]
DK-Kk, CNS 299b.

MS 33 2247

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 327 Ak, Julesne fra Bethlehem]ler in 1958.

DK-Kk, CNS 285.

34.6x25.9 cm, 1 bifolio written in pencil and ink,

Photocopy.

ﬁnal page blank.

Autograph.

Paper type: 16 staves (hand-ruled).
141 See MS Ext. 271.
142 See MS Ext. 28.

140 “sold to Nordens Musik.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 374

374

22/02/09 8:31:48

Autograph.

MS 33 2252

On fol. 1:[No. 297 Afﬂictus sum, No. 298 Dominus regit me,

recto: draft (vocal score, TTBB on 2 staves) for No. 332

No. 299 Benedictus Dominus]

with heading “Kvadet om Nordens Harpe”, correc-

DK-Kk, CNS 308b.

tions added in ink (CN); sketch for pf. named “Alle-

Donated to The Royal Library by Irmelin Eggert Møl-

gretto vivo”;

ler in 1958.

verso: draft without text (vocal score, SSA) for No.
143

378 with heading “Trestemmig Kanon”

added in

34.9x26 cm, (No. 297): 1 gathering of 2 bifolios paginated 1-8, written in pencil.

ink, text fragments.

Paper type: 12 staves (hand-ruled).

On fol. 2:

35x26 cm, (No. 298): 2 folios paginated 1-4, written

recto: sketches for Cupid and the Poet.

in pencil and ink.

Enclosed:

Paper type: 12 staves (hand-ruled) (the system organ-

Text:

ized as 2+3+3+3+1).

Dating: “(1/4 1931)”.

35.5x27 cm, (No. 299): 4 folios paginated 1-7, ﬁnalv

r

26.8x21.8 cm, 1 bifolio written in ink, fols. 1 -2 blank.
v

page unpaginated, written in pencil and ink.

Printed on fol. 2 “DET KGL. DANSKE / MUSIKKON-

Paper type: pp. 1-4: B. & H. Nr 14 A. (24 staves).

SERVATORIUM. / KJØBENHAVN.”

pp. 5-8: B. & H. Nr 11 A. (18 staves).

Text for No. 332 written in ink by Aage Berntsen,

The source has been restored.

tempo markings, dynamic markings and music ex-

Autograph.

ample added in pencil (CN).

Datings: No. 297 “15-6-29.”
No. 298 “26-5-29”

MS 33 2251

No. 299 “Damgaard 28-6-29.”[No. 297 Afﬂictus sum, No. 298 Dominus regit me,

Draft (I: vocal score, ATTB, II: vocal score, SATB, III:No. 299 Benedictus Dominus]

vocal score, SSATB, respectively) for Nos. 297, 298,

DK-Kk, CNS 308a.

299 with headings “I”, “II”, “III”, respectively; addi-

Donated to The Royal Library by Mogens Wøldike intions and corrections in ink (CN), at bottom of pp. 2-3

1979.

of III sketch for The Silent Women; on pp. 7-8 of No. 299

34.7x26 cm, 1 gathering of 5 bifolios, title page, pp.

fragments (vocal score, S. solo, B. solo, pf.) of bb. 76-87

1-19, written in ink, in library binding.

for Cantata for the Opening Ceremony of the National Exhi-

Paper type: 18 staves (hand-ruled).

bition in Aarhus 1909; on ﬁnal page sketch for Cantata

Autograph.

for the Centenary of the Polytechnic College with text frag-Title page: “Palæstrinakoret tilegnet. / af / Carlments “En Funke tændt, en Funke blev tændt i det

Nielsen / I / Afﬂictus sum, et humiliatus sum nimis:mægtige Rum... Som kløved den Bølgen som ... stum”.

/ rugiebam a gemitu cordis mei. / II / Dominus gegit
me, in loco pasquae / ibi me callacavit. [corrected

MS 33 2253

to “collocavit” in pencil] Super aquam / refectionis[No. 297 Afﬂictus sum, No. 299 Benedictus Domi-

educavit me. / III / Benedictus Dominus: quoniamnus]

miriﬁcavit / misericordiam suam mihi.”

DK-Kk, CNS 308c.

Datings: No. 297 “15-6-29.”

Donated to The Royal Library by Irmelin Eggert Møl-

No. 298 “26-5-29.”

ler in 1958.

Fair copy (I: vocal score, ATTB, II: vocal score, SATB, III:

35x26.2 cm, 1 bifolio, 1 folio, 1 bifolio, written in

vocal score, SSATB, respectively) of Nos. 298, 299, 300.

pencil and ink.

143 “Three-part canon”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 375

375

22/02/09 8:31:49

Paper type: 12 staves (hand-ruled), 12 staves (hand-

The source has been restored.

ruled) (the system organized as 2+3+3+3+1). 12 staves

Autograph.

(hand-ruled).

Title page: “Sidskensang. / Digt af Aarestrup / compo-

Autograph.

neret for Kor a capella / (2 Sopraner, Alt og Tenor) / af

Sketches for Nos. 297, 299 written in pencil;/ Carl Nielsen.”, “Zeissiglied” and “Sunget af Cæcilia-

manuscript copies written in ink of works by Lucia

forening.” added in pencil (foreign hand).

Marenzio, Clemens von Papa, Orlando Lassus, with

Fair copy (vocal score, SSAT on 4 staves) of No. 301,

text fragments, 2 sketches with headings “CN”, andDanish text added below staves, German text added

3 with headings “Palæstrina”; 6 bars of af sketch(pf.?) in E minor with heading “Allegro”, sketch within pencil below Danish text (foreign hand); on ﬁnal

heading “Anticipationer”, sketch (pf.?), E major withpage sketch for pf. with heading “Andantino”; compositor’s markings added in pencil.

ﬁgured bass.
MS 33 2258
MS 33 2254

[No. 301 Sidskensang (Du er, min Tro, en underlig Pog)][No. 299 Benedictus]

DK-Kk, CNS 304b.

DK-Kk, CNS 308d.

Donated to The Royal Library by P.S. Rung Keller in

28x8.5 cm, a torn-off newspaper page, written in ink.

1955.

Autograph.

35.2x27 cm, 1 gathering of 3 bifolios, paginated 1-8,

Dating: “POLITIKENS RADIO, Fredag den 21. Juni 1929”.

written in ink, title page and fols. 5 -6 blank, fol. 6

sketch (vocal score, TT on 2 staves) for No. 299.

written in pencil.

v

r

v

Paper type: B. & H. Nr. 2. E. (14 staves).
MS 33 2256

Autograph.

[No. 302 Serenade (Gerne vi lytter, naar Strængene

Title page: “Til Frederik Rung. / Sidskensang / af Aare-bringer)]

strup / componeret for blandet Kor / af / Carl Nielsen”,
on label pasted in at left bottom corner “H. & Fr.

DK-Kk, CNS 303b.
v

o26x17.5 cm, 1 bifolio written in ink, fol. 2 blank.

Rungs Musik-Arkiv. / a capella. / N 631. Rung-Keller.”

Paper type: 8 staves.

Dating: “11/12 06.”

Manuscript copy.

Fair copy (vocal score, SSAT on 4 staves) of No. 301; on

Title page: “Tenor / Serenade / af Hother Ploug / Musikﬁnal page: sketch for an unidentiﬁed instrumental

af Carl Nielsen.”piece, written in pencil (foreign hand).

Manuscript copy (vocal part, T) for No. 302 by Henrik
Knudsen.

MS 33 2259
[No. 301 Sidskensang (Du er, min Tro, en underlig Pog)]

MS 33 2257

DK-Kk, CNS 304c.

[No. 301 Sidskensang (Du er, min Tro, en underlig Pog)]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 304a.

ler in 1958.

Donated to The Royal Library by Irmelin Eggert Møl-

35.5x27 cm, 2 bifolios, paginated 4-8, fols. 1-2 unpagi-

ler in 1958.

nated, written in pencil.

r

Paper type: B. & H. Nr. 2. E (14 staves).

34.9x26.7 cm, 1 gathering of 3 bifolios paginatedv

1-6, titel page unpaginated, written in ink, fols. 4 -6r

Autograph.

blank, in library binding.

Draft (vocal score, SSAT on 4 staves) for No. 301 with

Paper type: B. & H. Nr. 2. E. (14 staves).

heading “Chor”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 376

376

22/02/09 8:31:49

MS 33 2260

of page “Sjølunds Sangere / Karl Elnegaard” added in[No. 301 Sidskensang (Du er, min Tro, en underlig Pog)]

pencil (Irmelin Eggert Møller).

DK-Kk, CNS 304d.
25.9x17.1 cm, 1 folio written in ink, verso blank.

MS 33 2263

Paper type: 8 staves (hand-ruled).

[No. 322 Til Snapsen i ‘Bel Canto’ (Endskønt jeg gan-

Manuscript copy (Christian Geisler).

ske sikkert ved)]

Page with corrections for No. 301 with heading “Nogle

DK-Kk, CNS 307a.

Smaarettelser ved Udførelsen / af ‘Sidskensang’ ven-

Privately owned; copy donated to The Royal Library by

144

ligst fra Chr. G.”;

few additions in red crayon.

Irmelin Eggert Møller in 1958.
Autograph.

MS 33 2261

Title on ﬁrst music page: “Til Snapsen i ‘Bel canto.’”[No. 311 Sjølunds Sangere (Paa Sjølunds fagre,

Dating: “16/909.”

sommerskønne Ø)]

Fair copy (vocal score, TTBB on 2 staves) of No. 322.

DK-Kk, CNS 305a.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 2264

ler in 1958.

[No. 322 Til Snapsen i ‘Bel Canto’ (Endskønt jeg

38.2x26 cm, 1 folio written in ink, verso blank.

ganske sikkert ved), No. 323 De unges Sang (Vi ﬁk ej

Paper type: 14 staves (hand-ruled).

under Tidernes Tryk)]

Autograph.

DK-Kk, CNS 307b.

Title on ﬁrst music page: “Sjølunds Sangere.”

Donated to The Royal Library by Irmelin Eggert Møller

Fair copy (vocal score, SATTB on 3 staves) of No. 311,

in 1958.

below ﬁnal system “*Med lille Korbesætning kan de

35.5x27 cm, 1 folio written in pencil.

145

indklammede Toner udelades.”added in ink (CN).

Paper type: 18 staves (hand-ruled).
Autograph.

MS 33 2262

Recto: draft (vocal score, TTBB on 2 staves) for No. 322[No. 311 Sjølunds Sangere (Paa Sjølunds fagre,

with heading “Allegretto / underfundigt”, text be-

sommerskønne Ø)]

tween staves; draft without text (vocal score, TTBB on

DK-Kk, CNS 305b.

2 staves) for No. 323.

Donated to The Royal Library by Irmelin Eggert Møl-

Verso: sketch for an unidentiﬁed piece for 2 instruments.

ler in 1958.
21.7x26 cm, 1 folio, trimmed, written in pencil.

MS 33 2267

Paper type: 8 staves (hand-ruled).

[No. 23 Sænk kun dit Hoved, du Blomst]

Autograph.

➤ Sleep, Op. 18

Recto: sketch (vocal score, SATTB on 3 staves) for

DK-Kk, CNS 311c.

No. 311 in E major, heading “Paa Sjølunds fagre,

Donated to The Royal Library by Irmelin Eggert Møller

sommerskønne Ø.” and above top staff “Karl Elne-in 1958.

gaard” added (Irmelin Eggert Møller).

34.7x26.2 cm, 1 folio written in blue crayon.

Verso: sketch (vocal score, SATTB on 2 staves) for
No. 311, in E major, heading “Paa Sjølunds fagre,

Paper type: 12 staves (hand-ruled).

sommerskønne Ø.” added (foreign hand), at bottom

Sketch for No. 23.

Autograph.
For a complete description of this manuscript, see

144 “A number of minor corrections for the performance / of ‘Sidskensang’ best wishes from Chr. G.”
145 “*The notes in brackets may be left out if only asmall chorus is available.”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 377

CNU III/1, p. 212.

377

22/02/09 8:31:49

MS 33 2269

MS 33 2292

[No. 144 Syndﬂoden (Når nat udvælder), No. 158[No. 110 Købmands-Vise (En Købmand han staar bøjet)]Syndﬂoden (Når nat udvælder)]DK-Kk, CNS 319f.

DK-Kk, CNS 309b.

Donated to The Royal Library by Irmelin Eggert Møl-

➤ Springtime on Funen, Op. 42

ler in 1958.

34.5x26 cm, 1 bifolio written in pencil.

35.5x27 cm, 1 bifolio written in ink, fol. 2 blank.

Autograph.

Paper type: B. & H. Nr. 3. A. 6. 13. (16 staves).

Sketch for Nos. 144, 158.

Autograph.

Paper type: 12 staves (hand-ruled).

Title page: “Carl Nielsen / En Købmands-Vise. / Tekst

For a complete description of this manuscript, see/ af / Valdemar Rørdam.”, at top of page “1 Tone op”

CNU III/1, pp. 213-214.

added in pencil (foreign hand), compositor’s mark-v

ings added in pencil.
MS 33 2276

Printing manuscript (voice, pf.) for No. 110 in D

[No. 286 Gensyn (Hvor blev den Blomst, som fyldte),

major, stanzas 1-3 added below voice, stanzas 4-5

No. 331 Til min Fødeø (Blidt vugges du i Himmel-

printed on a pasted-in paper, trimmed.

seng)]➤ Hymn to Art

MS 33 2296

DK-Kk, CNS 316d.

[No. 293 Skummende laa Havet, No. 294 Danmark,35x26 cm, written in pencil.

du kornblonde Datter]

Paper type: 12 staves (hand-ruled).

DK-Kk, CNS 320d.

Autograph.

Donated to The Royal Library by Irmelin Eggert Møl-

In vocal parts, B, on ﬁnal page: sketch without text

ler and Anne Marie Telmányi in 1953.

(vocal score, SATB on 2 staves) for “Til min Fødeø”, inE major, named “Andante”; draft without text (vocal

34,5x25,5 cm, 1 bifolio written in ink and pencil, fol.

score, TTBB on 2 staves) for No. 331 in G major; draft

Paper type: 12 staves (hand-ruled).

for No. 286.

Autograph.

For a complete description of the manuscript see

On fol. 1 : printing manuscript (vocal score, SATB on

CNU III/3.

2 staves) for No. 293 with heading “Skummende laav

2 blank; in library binding.

r:

Havet”, stanza 1 between staves, stanza 2 added at
MS 33 2280

right bottom corner, compositor’s markings added in[No. 11 Æbleblomst (Du ﬁne hvide Æbleblomst!)]ink and pencil.

➤ Hymnus Amoris, Op. 12.

On fols. 1 -2 : printing manuscript (vocal score, SATB

DK-Kk, CNS 310c.

on 2 staves) for No. 294 with heading “Danmark

35.5x27 cm, 1 folio written in pencil, paginatedDu kornblonde Datter”, stanzas 1-2 between staves,50-51.

stanza 3 below bottom staff, compositor’s markings

Paper type: B & H. Nr. 14 D. (24 staves).

added in ink and pencil.

v

r

Autograph.
On pp. 50-51: draft (voice, pf.) for No. 11.

MS 33 2301

For a complete description of this manuscript, see[No. 277 Der går et stille tog]

CNU III/1, pp. 209-210.

➤ Cantata for the Centenary of the Polytechnic College.

Includes also a sketch for Holstein’s poem, “Kys mig

DK-Kk, CNS 324c.

paa Øjnene, Sol”

Autograph.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 378

378

22/02/09 8:31:49

r

On fol. 5 : draft (pf.) for No. 277 with heading “Højo

35x27.5 cm, 1 bifolio written in pencil.

skolesangbogen N 422a”, stanza 1 between staves.

Paper type: 10 system (10 staves).

For a complete description of this source, see

Autograph.

CNU III/3.

Draft for No. 287, a few additions in red crayon. On
fol. 2: also a draft for a prelude for organ Op. 51 andMS 33 2309

an unidentiﬁed sketch (for organ). For a complete de-[No. 314 Af Flamme blev du avlet]

scription of this, see CNU II/12, p. 249.

DK-Kk, CNS 284.
Donated to The Royal Library by Irmelin Eggert Møl-

MS 33 3009

ler in 1958.

[No. 237 Ariels Sang (Selv naar Tordenen tynger)]v

34.3x27 cm, 1 bifolio written in pencil, fol. 2 blank.

DK-Kk, CNS 327d.

Paper type: Nr. 3 F. 12. (12 staves).

Donated to The Royal Library by Irmelin Eggert Møl-

Autograph.

ler and Anne Marie Telmányi in 1953.

Title on ﬁrst music page: “‘Ligbrændingskantate’”34.5x25.5 cm, 1 bifolio, written in ink, fol. 2 blankadded (foreign hand).

Paper type: 12 staves (hand-ruled).

Draft (vocal score, SSATB on 4 staves) for No. 314 withrv

The source has been restored.

text fragments; on fol. 2 : 2 stanzas written in ink on

Autograph.

pasted-in paper (Sophus Michaëlis).

On fol. 1 : beginning of fair copy of No. 237, bb. 1-3,rcrossed out.
vr

MS 33 3005

On fols. 1 -2 : printing manuscript (voice, pf.) for[No. 287 Island (I gamle Dage for over hundred tu-

No. 237 with heading “Ariels Sang”, the last 4 bars

sind Aar tilbage)]on a different type of manuscript paper are pasted

DK-Kk, CNS 312a.

in, compositor’s additions in pencil and blue crayon.

Donated to The Royal Library by Irmelin Eggert MølMS 33 3018

ler in 1958.
34.5x37 cm, 2 bifolios, 1 folio, paginated 1-6, 6-7[No. 284 Det är höst](pagination error) written in ink, fol. 5 blank, in➤ Cupid and the Poetgreen library binding.

DK-Kk, CNS 333c.

Paper type: 10 system (10 staves).

34.5x27 cm, 8 folios written in pencil and ink.

The source has been restored.

The source has been restored.

Autograph.

Autograph.

Title page: “Island / Digt af / Otto Lagoni / med ledsa-

Dating: “7/12 2”.

gende / Musik / af / Carl Nielsen.”On fol. 2 (upside down):

Dating: “29/1 29”.

draft (voice, pf.) for No. 284, bb. 37-66 (crossed out),

Fair copy of No. 287.

additions in ink.

v

r

For a complete description of this source, see CNU
I/9, p. 294.

MS 33 3006
[No. 287 Island (I gamle Dage for over hundred tusind
Aar tilbage)]

MS 33 3034

DK-Kk, CNS 312b.

[No. 228 Halloges Sang (Min Hjelm er mig for blank

Donated to The Royal Library by Irmelin Eggert Møl-og tung)]

ler in 1958.

DK-Kk, CNS 341b.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 379

379

22/02/09 8:31:49

➤ Hagbarth and Signe

Title page: “Sangene / til / Helge Rode Festspil /Donated to The Royal Library by Irmelin Eggert Møl-

‘Moderen’ / Musiken komponeret af / Carl Nielsen.”,ler in 1958.

at top right corner stamped: “DET KGL. TEATERS /26x35 cm, 4 bifolios, 3 folios and 1 trimmed folio

MUSIKARKIV.”, at top left corner “Hr. Lehmann.”

written in pencil and ink.

added in pencil (foreign hand) and “944” added in

Autograph.

blue crayon (foreign hand).

On fol. 8: draft (voice, pf.) for No. 228 with heading

Fair copy (voice, pf.) of Nos. 120, 117, 118, 119, 121, 122,

“Halloges Sang af ‘Hagbart og Signe’” added in ink.

123 with headings “I”, “II”, “III”, “IV”, “V”, “VI”, “VII”,

For a complete description of this source, see

respectively; “IV”, “V”, “VI”, “VI” changed to “10”, “11”,CNU I/6, pp. 303-304.

“13”, “18” in pencil (CN?), respectively; stanza 1 belowsvoice, the following stanzas added below ﬁnal system;
MS 33 3039

additions in pencil and red crayon (foreign hand).

[No. 17 Hellelidens Sang (Helleliden aksler sin Kofte
graa), No. 18 Olufs Sang (Vegen er Dagen), No. 19

MS 33 3061

Dansevise (Hr. Oluf, der bredes dig Dug)][No. 306 Som en rejselysten Flaade]

DK-Kk, CNS 342e.

DK-Kk, CNS 345h.

Donated to The Royal Library by Irmelin Eggert Møl-

35x25 cm, 1 bifolio written in pencil, fols. 1 -2 blank.

ler and Anne Marie Telmányi in 1953.

Paper type:12 staves (hand-ruled).

34.5x 26 cm, 4 folios, paginated 2-8, ﬁnal page un-

Autograph.

paginated, written in ink.

Draft without text (vocal score, SATB) for No. 306;

Paper type: 12 staves (hand-ruled).

heading “Som en rejselysten Flaade” added (foreign

Autograph.

hand).

v

v

Printing manuscript (voice, pf.) for No. 17, bb. 7-11,
Nos. 18, 19, compositor’s markings added in pencil,

MS 33 3062

few additions in blue and red crayon.

[No. 177 Som en rejselysten ﬂåde]

See also MS 32 3060.

DK-Kk, CNS 345g.
Donated to The Royal Library by Irmelin Eggert Møller

MS 33 3055

in 1958.

[No. 117 Vildt gaar Storm mod sorte Vande, No. 118

34x27 cm, 1 folio written in pencil.

Min Pige er saa lys som Rav, No. 119 Dengang Ørnen

Paper type: 12 staves.

var ﬂyveklar, No. 120 Ved Festen ﬁk en Moder Bud,

Autograph.

No. 121 Tidselhøsten tegner godt, No. 122 Saa bit-

Recto: sketch for No. 177, text fragments; at bottom

tert var mit Hjerte, No. 123 Dengang Døden var iof page 2 bars of the prelude with the title “Forspil”

Vente]

added in blue crayon; additions in blue crayon.

DK-Kk, CNS 345b.

Verso: sketch for bb. 21-34 of Echo Song from The Mother.

Acquired by The Royal Library from The Royal
Theatre in 1946.

MS 33 3070

35.5x26.5 cm, 6 folios, title page, blank, 2-11; written[No. 231 Katholsk Ungdomssang (Velsignet være du,in ink; in library binding.

vor Herre, Gud)]

Paper type: 12 staves (hand-ruled).

DK-Kk, CNS 347e.

The source has been restored.

Donated to The Royal Library by Irmelin Eggert Møller

Autograph.

in 1958.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 380

380

22/02/09 8:31:50

34.5x26 cm, 1 bifolio written in pencil.

Autograph.

Paper type: 12 staves (hand-ruled).

Title page: “To sange / af Jeppe Aakjærs / Drama / ‘Ul-

The source has been restored.

vens Søn’ / komponerede / af / Carl Nielsen.”

Autograph.

Fair copy (voice, pf.) of No. 36 in C major; “D Dur”rr

On fols. 1 -2 : sketches for Midsummer Eve Play, seeadded in pencil in the margin; fair copy (voice, pf.) of

CNU I/6, p. 306.

No. 37. A text sheet (26.5x21 cm) enclosed with Jeppev

On fol. 2 : sketch for No. 231 with heading “KatolskAakjær’s poems in autograph and with signature;

Ungdomssang af Joh. Jørgensen”.

the sheet also includes a manuscript copy of the textof Dorre’s song “Jeg gaar i tusind Tanker”.

MS 33 4017
[No. 36 Gamle Anders Røgters Sang (Der staar en

MS 33 4019

Purle), No. 37 Kommer I snart, I Husmænd! (Raabet[No. 36 Gamle Anders Røgters Sang (Der staar en

stiger i Morg’nens Skær)]Purle), No. 37 Kommer I snart, I Husmænd! (Raabet

DK-Kk, CNS 349a.

stiger i Morg’nens Skær)]Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, CNS 349c.

ler and Anne Marie Telmányi in 1953.

Donated to The Royal Library by Irmelin Eggert Møl-

26x34.5 cm, 3 folios, paginated 1-6, written in ink,

ler in 1958.

pencil and blue crayon, library binding.

35.5x27 cm, 1 bifolio, written in pencil and ink.

Paper type: 16 staves (hand-ruled).

Paper type: B.&H. Nr 11 A. (18 staves).

The source has been restored.

Autograph.

Autograph.

On fol. 1:

Title on ﬁrst music page: “To Sange af Jeppe Aakjærs

recto: a sketch for the melody of No. 37 with text

Drama / ‘Ulvens Søn’ komponeret af Carl Nielsen / I /underlay and a harmonised setting without text

Gamle Anders Røgters Sang.”

underlay;

Printing manuscript (voice, pf.) for Nos. 36, 37.

verso: a sketch without text underlay for the melo-No. 36 with complete text underlay, from b. 13 thedy of No. 36 as well as harmonisation exercises andaccompaniment is indicated by letters that refer toan added note: “Riis Magnussen / Tilf. Byen 1455y”

bb. 2-12; No. 37 with complete text underlay, from b.

(CN).

12 the accompaniment is indicated by letters that re-

On fol. 2:

fer to bb. 3-11; compositor’s marking added in pencil.

recto: sketch with scanty text underlay (voice, pf.) for
No. 36 (in C major) and a harmonisation exercise.

MS 33 4018

verso: harmonisation exercises with the comment[No. 36 Gamle Anders Røgters Sang (Der staar en“De enkelte stemmer melodiske!!!!”

146

Purle), No. 37 Kommer I snart, I Husmænd! (Raabet
stiger i Morg’nens Skær)]MS 33 4021

DK-Kk, CNS 349b.

[No. 27 Fædreland! Fædreland!, No. 28 Ja, tag os, vor

Acquired by The Royal Library from the music pub-Moder, No. 30 Vibekes Sang (Jeg mødte en Sang), No.

lisher Knud Larsen in 1954.

31 Havets Sang (Havet omkring Danmark)]
DK-Kk, CNS 350c.

34.5x26 cm, 4 folios, unpaginated, 5 pages writtenv

in ink, additions in pencil and blue crayon, fols. 3 -4
blank.

v

Donated to The Royal Library by Irmelin Eggert Møller in 1958.

Paper type: 12 staves (hand-ruled).
146 “The individual parts, melodic!!!!”

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 381

381

22/02/09 8:31:50

34.5x26 cm, 3 bifolios in 1 gathering, fols. 1v- 5r: pagi-(foreign hand), verso in right margin “Hr Siboni /nated 1-8, written in ink, pencil and blue crayon.

Brogade 22.” added (CN).

Paper type: 18 staves (hand-ruled).
The source has been restored.

MS 33 4025

Autograph.

[No. 203 Havets Sang (Havet omkring Danmark)]

Title page: “Carl Nielsen. / Sange til ‘Willemoes / I➤ WillemoesFædreland! / II Ja, tag os vor Moder. / III Havets Sang.

DK-Kk, CNS 350.

/ IV Vibeke’s Sang.” Also noted on the title page in

35.5x27 cm, 3 bifolios written in pencil.

pencil: “1 Fl / 2 Cl / 2 Horn / 2 Tr / 1 Bas / Pauk / 2 Im /Paper type: B & H. Nr. 14. A: 11.08. (24 staves).

1 II / 1 Br / 1 C / Cb”.

The source has been restored.

End-dated: “31/12 07”.

Autograph.

Fair copy of No. 27 (voice and bass drum) andrr

On fol. 1 :Nos. 28, 30, 31 (voice, pf.). On fol. 6 : sketch fordraft without text (unison song) for No. 203, in E“Fædreland! Fædreland!” (voice, pf.) added in blue

major, above top staff “transp:” added (CN).

v

crayon; fol. 6 : “K Lyhne Rabeck / Op til Vaaben

For a complete description of the manuscript, see

Danske / Mænd / hør Dit Fædre” added in pencil

CNU I/6, p. 298.

(foreign hand).
MS 99 999
MS 33 4024

[Illegible song, presumably “Drømde mik en Drøm”][No. 304 Ja, tag os, vor Moder]

DK-Kk, Department of Needlecraft.

DK-Kk, CNS 350e.

Donated to The Royal Library by former ﬁsherman

Acquired by The Royal Library from the estate ofFinis Terrae in 1956.

Henrik Knudsen in 1947.

25.8x30 cm. 1 knitted potholder, green with yellow

17.6x27.1 cm, 1 folio written in pencil.

notes and red key signatures. Slightly moth-eaten.

Paper type: 9 staves (hand-ruled).

Purl-knitted on lower part.

The source has been restored.

Autograph.

Autograph.

Dating “1910” in black cross stitch. The song progres-Draft without text (vocal score, SATB on 2 staves) forsively starts in C major and ends in G sharp minor.

No. 304, text fragments; recto “C. Nielsen” added

Not published in the present edition.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 382

382

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M A N U S C R I P T( n o ti n

S O U R C E S

D K - K k ,Donated to The Royal Library in 2004.

C N S )

Recto: printed page from The Folk High School Songbook(tenth edition (1922)) No. 153 with text for No. 178,

MS Ext. 1

sketch (pf.) for No. 178 added in pencil (CN);[No. 1 Solnedgang (Svømmende Skyer, dejlige Cykla-

verso: incomprehensible sentence added in pencil

der)]

(CN).

DK-Kk, Emilie Demant Hatt, Tilg. 391.
Donated to The Royal Library by the estate of Emilie

MS Ext. 4

Demant Hatt in 1958.

[No. 179 Sangen har lysning]

34.5x26.1 cm, 1 bifolio, 2 pages written in ink, 2

DK-Kk, Musik- og Teaterafdelingen. Torben Schous-

pages blank.

boes Samling, XIV, 2.

Paper type: 12 staves.

Donated to The Royal Library in 2004.

The source is worn and repaired at the edges.

Recto: printed page from The Folk High School Songbook

Manuscript copy (voice, pf.) of No. 1 with few correc-(tenth edition (1922)) No. 212 with text for No. 179.

tions and additions in pencil (foreign hand), at top

Verso: blank.

v

right corner of fol. 1 “Carl Nielsen” added in ink(foreign hand). The copy may have been made before147

the publication of Solnedgang.

MS Ext. 5[No. 180 Hvad synger du om saa højt i det blå?]DK-Kk, Musik- og Teaterafdelingen. Torben Schous-

MS Ext. 2

boes Samling, XIV, 2.

[No. 95 Sov ind mit søde Nusseben!]Donated to The Royal Library in 2004.

DK-Kk, CNA I.D.3.b., letter of 11.11.1914 to CN from

Recto: printed page from The Folk High School Songbook

Margrete Rosenberg.

(tenth edition (1922)) No. 407 with text for No. 180.

1 folio written in pencil.
Paper type: ordinary paper, 6 staves (drawn in pencil).

MS Ext. 6

Autograph.

[No. 181, No. 200 Nu skal det åbenbares]

Recto: “Attest / At Carl Nielsen, som Familiens Over-DK-Kk, Musik- og Teaterafdelingen. Torben Schous-

hoved, skal have Ret til af Navn at være Værkets Ejer,

boes Samling, XIV, 2.

ligesom der ogsaa herved bevidnes ham min bedste

Donated to The Royal Library in 2004.

Anbefaling som Lærer i Contrapunkt og som Com-

Recto: printed page from The Folk High School Songbook

ponist – 11/11 1914 / Margrete Rosenberg”.

148

Verso: draft without text (unison song) for No. 95.

(tenth edition (1922)) No. 626 with text for Nos. 181,200.
Verso: blank.

MS Ext. 3[No. 178 Lær mig, nattens stjærne]MS Ext. 7

DK-Kk, Musik- og Teaterafdelingen. Torben Schous-[No. 195 Æ Lastræ (Mi Håsbond wa en piinwon Rad)]boes Samling, XIV, 2.

DK-Kk, Musik- og Teaterafdelingen. Torben Schousboes Samling, XIV, 2.

147 See PR 11
148 “Certiﬁcate: this is to testify that Carl Nielsen,
as head of the family, shall rightly be named theowner of the work; and also I testify to the factthat he is an excellent teacher of counterpoint
and a good composer – 11/11 1914 Margrete
Rosenberg”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 383

Donated to The Royal Library in 2004.
1 folio, typewritten with additions in pencil (CN).
Typewritten text for No. 195 with Anton Berntsen’s
signature in ink.

383

22/02/09 8:31:50

MS Ext. 8

Paper type: 9 staves (hand-ruled).

[No. 202 Vi nævner et navn]

Autograph.

DK-Kk, CNA, I.A.c., letter of 15.6.1926 from CN to Thor-

Dating: “Østrupgaard den 11 Juli 1906.”

vald Aagaard.

Fair copy (voice, pf.) of No. 225.

1 bifolio written in ink.
Paper type: ordinary paper, 6 staves (drawn in ink).

MS Ext. 12

Autograph.

[No. 244 Det danske Brød paa Sletten gror]r

On fol. 2 : fair copy (pf.) of No. 202 with stanza 1

DK-Kk, CNA, 2004/92. Letter of 18.7.1921 from CN to

between staves.

Thorvald Aagaard.
1 folio, trimmed, written in pencil and ink.

MS Ext. 9

Paper type: 4 staves (hand-ruled).

[No. 214 Til mit Hjertes Dronning (Skal vi vandre en

Autograph.

Stund)]

Recto: draft (pf.) for No. 244 with stanza 1 written in

DK-Kk, HA Ut 391, Emilie Demant Hatt, Erindringer

ink between staves.

og Breve.

Verso: sketch (pf.) with text fragment “De Snekker

18.6x34.5 cm, 1 folio, trimmed, written in ink; amødtes ikvæld paa Hav”, crossed out in pencil.

small piece of paper (16.5x13.2 cm) glued on to themusic paper.

MS Ext. 13

Paper type: 7 staves.

[No. 249 Julesang (Himlen mørkner stor og stum)]

Manuscript copy.

DK-Kk, Musik- og Teaterafdelingen. Torben Schous-

Recto: manuscript copy (voice, pf.) of No. 214 with head-boes Samling, XIV, 2.

ing “‘Til mit Hjertes Dronning’”, stanza 1 below voice.

Donated to The Royal Library in 2004.

The glued-on page contains a copy of all six stanzas.

9.4x5 cm, 1 folio, typewritten ﬂimsy paper.

Verso: the song Hans Tavsen (pf.), Danish folk song

21x13.6 cm, 1 bifolio written in ink.

with text by B.S. Ingemann.

Partly autograph.
Folio: text for No. 249, stanza 1, ﬁrst line: “Himlenr

MS Ext. 10

straaler stor og stum”, bifolio, fol. 1 : text for No. 249,

[No. 220 Alle de voksende Skygger]

stanzas 2-4 written in ink by Carl Nielsen.

DK-Kk, HA Ut 391, Emilie Demant Hatt, Erindringer
og Breve.

MS Ext. 14

26x34.5 cm, 1 folio written in ink.

[No. 261 Det vi véd, at siden slangens gift]

Paper type: 9 staves (hand-ruled).

DK-Kk, Musik- og Teaterafdelingen. Torben Schous-

Autograph.

boes Samling, XIV, 2.

Fair copy (voice, pf.) of No. 220 with heading “‘Alle deDonated to The Royal Library in 2004.

voksende Skygger’”.

Recto: printed page from The Folk High School Songbook(tenth edition (1922)) No. 115 with text for No. 261.
Verso: blank.

MS Ext. 11[No. 225 Jeg synes om din lette Gang]
Reproduced in: Torben Meyer & Frede Schandorf

MS Ext. 15

Petersen, Carl Nielsen. Kunstneren og Mennesket. Copen-[No. 266 I kølende Skygger]

hagen 1947-1948, bd. 1, s. 81.

DK-Kk, Musik- og Teaterafdelingen, CNU, box with mu-

1 page, original probably written in ink.

sic formerly belonging to Sylvia and Paul Schierbeck.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 384

384

22/02/09 8:31:51

34x25.5 cm, 1 folio written in ink, verso blank.

udsat paa denne lette Maade til dig. Mange Hilsener.

Paper type: 12 staves.

Spillede i Aftes Bridge hos Eggert med Jürgens og

Manuscript copy.

Boye-Lehn; det var meget morsomt. Det er opvakte

Manuscript copy (voice, pf.) of No. 266, F Major, with

Fyre, disse her Læger, sommetider er jeg helt dum

heading “I kølende Skygger”.

Mange kærlige Hilsener D[in]”.

MS Ext. 16

MS Ext. 19[No. 268 Dansk Vejr (Sus af Vind og Bølgeslag)][No. 278 Fremtidens Land!]

DK-Kk, Musik- og Teaterafdelingen. Torben Schous-

DK-Kk, Musik- og Teaterafdelingen. Torben Schous-boes Samling, XIV, 5.

boes Samling, XIV, 2.

Donated to The Royal Library in 2004.

Donated to The Royal Library in 2004.

34.5x26 cm, 1 bifolio written in ink, fol. 2 blank.

Recto: printed page from The Folk High School Songbook

Paper type: 12 staves (hand-ruled).

(tenth edition (1922)) No. 571 with text for No. 278.

Autograph.

Verso: “115 153 212 558 626” added in pencil (CN).

149

Title page: “Sus af Vind og Bølgeslag / Digt af / Ove
Rode / med Toner af / Carl Nielsen.”

MS Ext. 20

Dated: “22-7.27.”[No. 284 Det ä höst]v

On fol. 1 : fair copy (pf.) of No. 268.

DK-Kk, Musik- og Teaterafdelingen, CNU, box with music formerly belonging to Sylvia and Paul Schierbeck.

MS Ext. 17

34.5x27 cm, 1 bifolio written in ink.

[No. 272 Guldﬂoden (Der strømmer en Flod mod det

Paper type: Nr. 3. F. 12 (12 staves).

evige Hav)]

Manuscript copy.

DK-Kk, Musik- og Teaterafdelingen. Torben Schous-

Manuscript copy (voice, pf.) of No. 284, E Minor, withboes Samling, XIV, 2.

heading “Carl Nielsen. (Alma Rogberg.) / Det är höst.”.

Donated to The Royal Library in 2004.

“Sylvia Schierbeck” and “2 M” added in pencil.

Recto: printed page from The Folk High School Songbook(tenth edition (1922)) No. 121 with text for No. 272.

MS Ext. 21

Verso: blank.

[No. 290 Sænk kun dit Hoved, du Blomst]
DK-Kk, C II, 10, kasse 6 f.3.

MS Ext. 18

26x17.5 cm, 14 folios written in ink.

[No. 275 Tanker skal tændes]

The source has never been used.

DK-Kk, CNA I.D.3.b., letter of 6.8.1929 to Irmelin Eg-

Manuscript copy.

gert Møller from CN.

Parts (ﬂ. 1,2, fg. 1,2, vl. 1 (3), vl. 2 (3), va. (2 on samec. 15.5x26 cm, 1 folio, trimmed, written in ink.

bifolio), vc. (2 on same bifolio)) for No. 290.

Paper type: 7 staves (hand-ruled).
Autograph.

149 “Dear Irme! Now everything is settled andI shall go and see mother in Silkeborg via
Aarhus in spite of her protest. I am reallylooking forward to walking around with her,as I am now absolutely free. I enclose one of
the choral movements which I have arranged
in an easy way for you. Best wishes. Last night
I played bridge at Eggert’s with Jürgens andBoye-Lehn; it was very amusing. Such doctors
are clever fellows, sometimes I feel quite
stupid. Love from Yours”.

Recto: fair copy of No. 275.
Verso: Letter to Irmelin Eggert Møller [06.08.1929]:“Kære Irme! Nu har jeg alt i Orden og rejser nu overAarhus op til Mor i Silkeborg, trods hendes Protest.
Jeg glæder mig rigtig til at gaa rundt med hende, nu
jeg er helt fri. Her [er] den ene Korsang som jeg har

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 385

385

22/02/09 8:31:51

MS Ext. 22

34.1x26 cm, 1 gathering of 3 bifolios, paginated 1-9,

[No. 291 Der er et yndigt Land]

title page, fols. 5 -6 unpaginated, written in ink., fols.

Odense Bys Museer.

5 -6 blank.

1 folio paginated 1-2, written in pencil.

Manuscript copy.

Paper type: 16 staves.

Title page: “‘Sidskensang’ / Digt af Aarestrup, / kom-

Autograph.

poneret for Kor à capella: 2 Sopraner, alt og Tenor /Draft without text (orch. (ﬂ. cl. (A), cntt. (A), trb. 1,2,

af / Carl Nielsen.”, stamped “CÆCILIAFORENINGEN”,

vl. 1,2, va., vc., cb., and pf. probably for rehearsal))“Nr.128.” added in ink.

for No. 291 with heading “En ny Melodi til: / Der er

Manuscript copy (vocal score, SSAT) of No. 301.

v

v

v

v

et yndigt Land.”, at top right corner stamped “Hans
MS Ext. 24

Eshøj Johannesen”.

3[No. 301 Sidskensang (Du er, min Tro, en underlig Pog)]MS Ext. 23

DK-Kk, Cæcilia-Foreningens Arkiv.

[No. 296 Nu er for stakket Tid forbi]

Acquired by The Royal Library from Cæcilia-Forenin-

DK-Kk, Musik- og Teaterafdelingen. Torben Schousboes

gens Arkiv 1945.

Samling, XIV, 2.

26x17.5 cm, 24 bifolios written in ink.

Donated to The Royal Library in 2004.

Manuscript copy of 24 vocal parts for No. 301.

28x21.5 cm, 1 folio, written in ink (Knud Malmstrøm).
Text for No. 296, sketch added in pencil (CN).

4

MS Ext. 24[No. 301 Sidskensang (Du er, min Tro, en underlig Pog)]
1

MS Ext. 24

DK-Kk, C II, 10, kasse 5a.

[No. 301 Sidskensang (Du er, min Tro, en underlig Pog)]

Donated to The Royal Library by Irmelin Eggert Møl-

DK-Kk, Mf. 2314, Orkesterbiblioteket.

ler in 1958.

Acquired from Musikforeningens Arkiv in 1945.

26x17.5 cm, 18 bifolios written in ink.

26.5x17.5 cm, 1 gathering of 3 bifolios paginated 1-6,

Manuscript copy of 87 vocal parts for No. 301, alltitle page and ﬁnal folio unpaginated; written in ink,

parts stamped “CÆCILIAFORENINGEN”.

ﬁnal folio blank.
1

27x17 cm, 4 gatherings written in ink, in brown covers.

MS Ext. 25

Paper type: 10 staves (hand-ruled).

[No. 303 Kom, Gudsengel, stille Død]

Manuscript copy.

DK-Kk, C II, 10, kasse 6D.

Title page: “Sidskensang / Digt af Aarestrup. / compo-

34x26 cm, 1 bifolio written in ink.

neret for Kor a capella / (2 Sopraner, Alt og Tenor.) / af

Paper type: 12 staves (hand-ruled).

/ Carl Nielsen.”

Manuscript copy.

Manuscript copy (vocal score, SSAT) of No. 301,

Title page: “Frederik Rung tilegnet / ‘Kom, Gudsengel,and vocal parts (34 S1, 33 S2, 24 A, 23 T); all parts

stille Død!’ / Digt af Emil Aarestrup, / komponeret for

stamped “31”.

Kor a capella (Alt, Tenor og Bas) / af / Carl Nielsen”, At
top right corner “C167” added in blue crayon.

2

Manuscript copy (vocal score, ATB) of No. 303.

MS Ext. 24[No. 301 Sidskensang (Du er, min Tro, en underlig Pog)]
2

DK-Kk, C II, 10, kasse 5a.

MS Ext. 25

Donated to The Royal Library by Irmelin Eggert Møl-

[No. 303 Kom, Gudsengel, stille Død]ler in 1958.

DK-Kk, Cæcilia Foreningens Arkiv.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 386

386

22/02/09 8:31:51

Acquired by The Royal Library from Cæcilia Forenin-

MS Ext. 28

gens Arkiv in 1945.

[No. 328 Hil dig vor Fane!]

26x17.5 cm, 24 folios written in ink.

Studenter-Sangforeningens Arkiv, Copenhagen.

Manuscript copy of 24 vocal parts for No. 303.

34.6x26 cm, 1 bifolio written in ink, fol. 2 blank.
Paper type: 12 staves (hand-ruled).

MS Ext. 26

Autograph.

[No. 314 Af Flamme blev du avlet]

Title page: “Hil dig vor Fane! / komponeret / (for

DK-Kk, Mf. 2385, Orkesterbiblioteket.

Mandskor) / af / Carl Nielsen. / (Digt af Grundtvig)”.

Acquired by The Royal Library from Musikforeninges

Fair copy (vocal score, TTBB on 2 staves) of No. 328,

Arkiv in 1945.

stanza 1 between staves, stanzas 2-4 below ﬁnal

33.2x26 cm, 12 gatherings written in ink; in brownsystem.

covers.
Paper type: K.U.V: Beethoven Papier Nr.31. (12 Linien).

MS Ext. 29(12 staves).

[No. 331 Til min Fødeø (Blidt vugges du i Himmel-

Manuscript copy.

seng)]

Title page: “Sang for femstemmigt blandet Kor / ved /DK-Kk, CNA I.A.b., letter of November 1928 from Søren

Dansk Ligbrændings Forenings / Jubilæum 23 Marts

Peter Raben-Kroch to CN.

1931. / Tekst: Sophus Miachaëlis / Musik: Carl Nielsen”.

1 bifolio written in ink.

Vocal parts (3 S1, 2 S2, 2 A, 2 T, 3 B); all parts stamped

Text for No. 331.

on ﬁrst music page “Statsradiofoniens Arkiv / København”.

MS Ext. 30[No. 332 Kvadet om Nordens Harpe (Nordens herlige
1

MS Ext. 27

Harpe!)][No. 327 Ak, Julesne fra Bethlehem]

DK-Kk, Musik- og Teaterafdelingen. Torben Schous-

Studenter-Sangforeningens Arkiv, Copenhagen.
vrboes Samling, XIV, 2.

35.5x27.2 cm, 1 bifolio written in ink, fols. 1 -2 blank.

Donated to The Royal Library in 2004.

Paper type: B. & H. Nr. 14. A. / 7.09. (24 staves).

27.5x21.7 cm, 1 folio.

Autograph.

Text.

Title on ﬁrst music page: “Ak, Julesne fra Bethlehem”.

Title: “Kvadet om Norden Harpe – / ved Bel Canto´sFair copy (vocal score, S solo, TTBB, on 3 staves) of No.

25 Aars Jubilæum 1931.”

327, text between staves.

Typewritten text for No. 332, at top right corner“Sidste Udkast”

2

150

and at bottom right corner “Aage

MS Ext. 27

Berntsen” added in ink (Aage Berntsen), below title[No. 327 Ak, Julesne fra Bethlehem]“Norden herlige Harpe!” added in ink (CN); in left

DK-Kk, CNS C II, 10, kasse 6.f.2.

margin “Harpen og Sangen skælver [?] Fjelde, Søer,

35.5x27 cm, 1 bifolio written in ink.

Dale o...sv.”

Paper type: B. & H. Nr.5. A. / 7.69. (12 staves).

fremtryller Sangen, men Sangen Virkeligheden.”

Manuscript copy.

added in pencil (CN), sketch for No. 332 added in

Title page: “Ak, Julesne fra Bethlehem / af / Carl Niel-pencil (CN).

151

added in ink (CN) and “Virkeligheden
152

sen.”
Manuscript copy (vocal score, S solo, TTBB, on 3 staves)

150 “Final sketch”.
151 “The harp and song are trembling [?] Mountains,
Lakes, Valleys etc.”
152 “Reality conjures up the song, but the song
conjures up reality”.

of No. 327, text below S solo and between T and B.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 387

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MS Ext. 31

Paper type: 3 staves, drawn in pencil.

[No. 393 Hymne til Livet (Himmelkraftens Herre)]

Dating: “le 13.5.20”.

Landsarkivet i Lund, Schlyterske Samling.

Autograph.

34.5x25.5 cm, 1 folio written in ink.

Recto: menu card from “RESTAURANT VAN LAAR /Paper type: 10 staves (hand-ruled).

AMSTERDAM / KALVERSTRAAT 3 EN 5”, (menu) writ-

Autograph.

ten in French in ink.

Title page: “Hymne til Livet. / (Digt af Sophus Michaë-Verso: fair copy (unison song) written in pencil forlis) / komponeret for Drengekor / af / Carl Nielsen.”

No. 431; text below staff.

On top of page “OBS! Achtung!” added in pencil (foreign hand), in middle of page “Bitte drucken Sie So /MS Ext. 35

Hymne til Livet / (Gedicht von Sophus Michaëlis ) für[No. 137 Tunge, mørke natteskyer, No. 231 Ungdoms-

Knabenchor komponiert / von / Carl Nielsen”.

sang (Velsignet være du, vor Herre, Gud), No. 269 Den

Fair copy (vocal score, boy’s choir (SSAA)) of No. 393.

trænger ud til hvert et sted, No. 272 Guldﬂoden (Derstrømmer en Flod mod det evige Hav), No. 278 Frem-

MS Ext. 32

tidens Land!, No. 280 Ind under Jul, hvor er det trist,[No. 428 Impromtu (De skal rejse og vi er bedrøvede)]

No. 281 I kølende Skygger, No. 282 Dannebrog, vift

DK-Kk, Emilie Demant Hatt, Tilg. 391.

med din Vinge, No. 285 Danmark, nu blunder den

Business card written in ink.

lyse Nat, No. 286 Gensyn (Hvor blev den Blomst, som

Dating: “Selde 21.7.89”.

fyldte), No. 313 Vaaren – Vaaren er i Brudd!), No. 387

Recto: poem for Marie (Emilie Demant Hatt’s sister)Morten Børups Majvise (Frydeligt med Jubelkor)]

in foreign hand.

DK-Kk, Musik- og Teaterafdelingen, C II, 10.

Verso: fair copy, autograph (unison song) for No. 428
153

with text below staff with heading “Impromtu”.

36.5x26 cm, book with blank, numbered pages; title
on the back: “SCRAP BOOK”. Contains a number ofprinted songs glued in on pp. 1-15, few additions in

MS Ext. 33

ink and pencil (CN).

[No. 429 En svunden Dag]
DK-Kk, Agnes Bauditz’ Stambog, Acc. 2001/21.

MS Ext. 36

14x20 cm, 45 folios bound in brown leather binding.

[No. 113 “Visselulle nu, Barnlil!]

Paper type: 3 staves (drawn in ink).

DK-Kk, NKS 3525, VI-17.

Dating: “Kjøbenhavn 20/2 90”.

34.3x25.6 cm, 1 folio written in ink, verso blank.

Autograph.

Paper type: 12 staves (hand-ruled).

On p. 6 fair copy (voice, pf. ) of No. 429, text below

Autograph.

voice.

154

Title on ﬁrst music page: “Visselulle nu, Barnlil af‘Aladdin’”.

MS Ext. 34

Dating: “Damgaard 20 Aug: 18.”

[No. 431 Der er i Amsterdam]

Fair copy (voice, pf.) of No. 113 with stanza 1 below

DK-Kk, Acc. 1995/55.

voice.

10.5x16 cm, 1 folio, menu card, written in ink andpencil.

153 See facsimile in Emilie Demant Hatt; Foraarsbølger, Erindringer om Carl Nielsen.
154 See facsimile below No. 429.

Carl Nielsen Udgaven CN 00051

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P R I N T E D

S O U R C E S

Printed score (voice, pf.), reprint with revisions.
Title page: “MUSIK / TIL / FEM DIGTE / af / J. P.

Superscript ﬁgures added to some of the PR-numbers

JACOBSEN / Solnedgang / I Seraillets Have / Til Asali /refer to parallel editions from Nielsen’s lifetime.

Irmelin Rose / Har Dagen sanket al sin Sorg / af CARLNIELSEN / Op. 4 / FORLÆGGERENS EJENDOM FOR➤ refers to a previously mentioned source

ALLE LANDE / KØBENHAVN & LEIPZIG / WILHELM

SA, SSA, SSAA: vocal parts in movements notated in

HANSEN, MUSIK-FORLAG / KRISTIANIA & BERGEN /treble clef

NORSK MUSIK-FORLAG / GÖTEBORG -STOCKHOLM

voice, pf.: vocal part with piano- MALMÖ / A.B. NORDISKA MUSIKFÖRLAGET / II”.

pf.: piano score with or without text

Pl. No.: 11040 (1892), reprint of PR , with revisions,unison: unison song without piano accompaniment

1920.

1

33.5x26.5 cm, pp. 2-14.
1

PR 1

First music page: at top left corner: “Opførelsesret[No. 1 Solnedgang (Svømmende Skyer, dejlige Cyklad-forbeholdt / Droits d’exécution réservés”; at bottom lefter), No. 2 I Seraillets Have (Rosen sænker sit Hoved,

corner: “Wilhelm Hansens Nodestik- og Tryk, Kjöben-tungt af Dug og Duft), No. 3 Til Asali (Før drømte jeg

havn.”; and at bottom right corner: “1920”.

fast hver eneste Nat), No. 4 Irmelin Rose (Se, der var en

Pl. No.: 11040 (1892), reprint of PR , 1920.

Gang en Konge), No. 5 Har Dagen sanket al sin Sorg]

Additions and changes to the plates; however, noPrinted score (voice, pf.), ﬁrst edition.

changes carried out regarding punctuation in text.

1

Title on cover: “Til Anne Marie: / CARL=NIELSEN /3

Musik / til fem / Digte / af J. P. / JACOB /=SEN. / Wil-PR 1

helm Hansen. / Musik=Forlag / :Kiøbenhavn Leipzig:”.

[No. 1 Solnedgang (Svømmende Skyer, dejlige

Title page: “MUSIK / til / FEM DIGTE / AF / J. P. JA-

Cyklader)]

COBSEN, / Solnedgang. / I Seraillets Have. / Til Asali.

Printed score (voice, pf.)

/ Irmelin Rose. / Har Dagen sanket al sin Sorg. / AF /Title page: “MUSIKBLADET/ Revue for Musik og

CARL NIELSEN. / Op. 4. / FORLÆGGERENS EIENDOM

Theater / Redacteur: H.V. Schytte / Udgiver: Wilhelm

FOR ALLE LANDE. / KJØBENHAVN & LEIPZIG. / WIL-

Hansens Musik-Forlag”.

HELM HANSEN, MUSIK-FORLAG. / Trykt i Wilhelm

Dating: 9. Aargang Nr. 8-9, 1892.

Hansens Etabl., Kjøbenhavn.”

31.3x21 cm, pp. 51-58.

Pl. No.: 11040 (1892).

Between pp. 54 and 55 score for No. 1.

33.5x26.5 cm, pp. 2-14.
4

Front cover illustrated by Anne Marie Carl-Nielsen.

PR 1

Reprinted several times with changes and correc-[No. 2 I Seraillets Have (Rosen sænker sit Hoved, tungt

tions to the plates; however, no changes carried out

af Dug og Duft), No. 4 Irmelin Rose (Se, der var en

regarding punctuation of text.

Gang en Konge), No. 5 Har Dagen sanket al sin Sorg,
No. 6 Genrebillede (Pagen højt paa Taarnet sad), No.

2

PR 1

8 Silkesko over gylden Læst!, No. 9 Det bødes der for][No. 1 Solnedgang (Svømmende Skyer, dejlige Cykla-

Printed score (voice, pf.).

der), No. 2 I Seraillets Have (Rosen sænker sit Hoved,

Title page: “LIEDER / VON J. P. JACOBSEN / componirt

tungt af Dug og Duft), No. 3 Til Asali (Før drømte jeg

von / CARL-NIELSEN / OP. IV &VI / DEUTSCH VON

fast hver eneste Nat), No. 4 Irmelin Rose (Se, der var en

WILH: HENZEN / WILHELM:HANSEN FORLAG /Gang en Konge), No. 5 Har Dagen sanket al sin Sorg]

KIØBENHAVN & LEIPZIG”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 389

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2

Pl. No.: 11597 (1895).

PR 2

33.5x26.5 cm, pp. 2-17.

[No. 6 Genrebillede (Pagen højt paa Taarnet sad), No. 8

First music page: “Eigenthum des Verlegers für alle

Silkesko over gylden Læst!, No. 9 Det bødes der for]

Länder.”, and “Wilhelm Hansen, Kopenhagen &Printed score (voice, pf.).

Leipzig.”➤ PR 1 .
4

Final music page: “Druck von Wilhelm Hansen,
3

Kopenhagen.”PR 2

Printed scores for “Dafür wird gebüsst” (Det bødes[No. 6 Genrebillede (Pagen højt paa Taarnet sad),der for, No. 9), “Irmelein Rose” (Irmelin Rose, No. 4),

No. 7 Seraferne (Det har Seraferne: Seraferne har rul-

“Und wenn der Tag all’ Sorg und Qual” (Har Dagen

let bort de klare Stjerner ), No. 8 Silkesko over gylden

sanket al sin Sorg, No. 5), “Seid’ner Schuh überLæst!, No. 9 Det bødes der for, No. 10 Vise af ‘Mogens’

Leisten von Gold!” (Silkesko over gylden Læst, No. 8),(Havde jeg, o havde jeg en Dattersøn, o ja!)]“Im Garten des Serails” (I Seraillets Have, No. 2),

Printed score (voice, pf.), reprint with revisions.

“Genrebild” (Genrebillede No. 6). Few changes in the

DK-Kk, D204 (1923-24.75.).

plates, most of them because of the number of syllab-

Title page: catalogue with Nielsen’s works.

les in the German text.

First music page: “Genrebillede. / Carl Nielsen, Op.
6”; at bottom left corner: “Forlag og Ejendom for alle

1

PR 2

Lande. / Wilhelm Hansens Nodestik og Tryk, Kjøben-[No. 6 Genrebillede (Pagen højt paa Taarnet sad),

havn.”; at bottom right corner: “Wilhelm Hansen,

No. 7 Seraferne (Det har Seraferne: Seraferne har

Kjøbenhavn & Leipzig.”

rullet bort de klare Stjerner ), No. 8 Silkesko overPl. No.: 11193 (1893), reprint of PR 2 , with revisions.

gylden Læst!, No. 9 Det bødes der for, No. 10 Vise

33.7x26.8 cm, pp. 2-12.

af ‘Mogens’ (Havde jeg, o havde jeg en Dattersøn,

Changes made to plates.

1

o ja!)]
4

Printed score (voice, pf.), ﬁrst edition.

PR 2

DK-Kk, mu 7701.1252.

[No. 6 Genrebillede (Pagen højt paa Taarnet sad),

Title on cover: “CARL=NIELSEN:OP:VI VISER:OG:VERS:

No. 7 Seraferne (Det har Seraferne: Seraferne har rul-

AF:I.P.JACOBSEN. / WILHELM HANSEN / MUSIK-FOR-

let bort de klare Stjerner ), No. 8 Silkesko over gylden

LAG / KJØBENHAVN LEIPZIG:”.

Læst!, No. 9 Det bødes der for, No. 10 Vise af ‘Mogens’

Title page: “Dr. phil. Rudolph Bergh venskabeligst(Havde jeg, o havde jeg en Dattersøn, o ja!)]tilegnet. / VISER OG VERS / AF J. P. JACOBSEN, / Genre-

Printed score (voice, pf.), reprint with revisions (1923).

billede. / Seraferne. / Silkesko over gylden Læst! / Det

Title page: catalogue with Nielsen’s works. At bot-bødes der for. / Vise af ‘Mogens’. / MED MUSIK / AF /tom left corner “Forlag og Ejendom for alle Lande.

CARL NIELSEN. / Op. 6. / FORLÆGGERENS EIENDOM/ 1919”, at bottom right corner “Wilhelm Hansen,

FOR ALLE LANDE. / KJØBENHAVN & LEIPZIG. / WIL-

Kjøbenhavn & Leipzig.”

HELM HANSEN, MUSIK-FORLAG. / Trykt i WilhelmFirst music page: “Genrebillede. / Carl Nielsen, Op. 6”.

Hansens Etabl., Kjøbenhavn.”

Pl. No.: 11193 (1893), reprint of PR 2 , with revisions.

Pl. No.: 11193 (1893).

33.7x26.5 cm, pp. 2-12.

1

33.7x26.8 cm, pp. 2-12.
Front cover illustrated by Anne Marie Carl-Nielsen.

PR 3

Reprinted with another cover, undated.

[No. 11 Æbleblomst (Du ﬁne hvide Æbleblomst!),No. 12 Erindringens Sø (Træd stille, min Veninde),Carl Nielsen Udgaven CN 00051

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1

No. 13 Sommersang (Fyldt med Blomster blusser Æble-PR 5træets Gren), No. 14 Sang bag Ploven (I solen gaar jeg[No. 20 Skal Blomsterne da visne, No. 21 Høgenbag min Plov), No. 15 I Aften (Det gyldenhvide Him-(Vær hilset Høg over Granetop), No. 22 Jens Vejmand

mellys), No. 16 Hilsen (Den dovne Fjord som gynger)](Hvem sidder der bag Skjærmen), No. 23 Sænk kun

Printed score (voice, pf.), ﬁrst edition.

dit Hoved, du Blomst, No. 24 Den første Lærke,Title page: “SANGE LIEDER / CARL=NIELSEN / AF /No. 25 Husvild (Gi Husly til to Persowner), No. 26

LUDV-HOLSTEIN / DEUTSCH / E. v ENZBERG / WIL-

Godnat (No wil a sej Jer Godnæt)]HELM-HANSEN- / KIØBENHAVN LEIPZIG / EIGENTHUM

Printed score (voice, pf.), ﬁrst edition.

DES VERLEGERS FÜR ALLE LÄNDER.”

Title page, identical for vol. I (Nos. 20-22) and vol. II

Pl. No.: 11971 (1897).

(Nos. 23-26):

33.5x27 cm, pp. 2-19.

“Fru Bodil Neergaard / tilegnet. / CARL NIELSEN /Front cover illustrated by Anne Marie-Carl Nielsen.

Stroﬁske Sange Stroﬁsche Gesänge / Hefte I No 1 Skal

Reprinted several times, the latest in 1920 with iden-

Blomsterne da visne? ... Soll denn die Blumen welken? / 2

tical music type but varying title page. Nos. 11, 14,

Høgen... Der Adler. / 3 Jens Vejmand... Der alte Steinklop-

and 16 published as an offprint; music type identicalfer. / II 1 Sænk kun dit Hoved, du Blomst... Senke deinwith that of the ﬁrst edition.

Köpchen. / 2 Den første Lærke... Die erste Lerche. / 3
Husvild... Gebt Obdach! / 4 Godnat... Gute Nacht. / Forlæg-

1

PR 4

gerens Ejendom for alle Lande. Eigenthüm des Verlegers[No. 17 Hellelidens Sang (Helleliden aksler sin Kofte

für alle Länder. / Kjøbenhavn & Leipzig / Wilhelm Hansen,graa)]

Musik-Forlag.”Printed score (voice, pf.), ﬁrst edition.

Pl. Nos.: 14162 (vol. I), 14163 (vol. II) (1907).

Title page: “HR:OLUF:HAN:RIDER: / DRAMA: AF /34x27 cm, pp. 2-11 (vol. I).

HOLGER:DRACHMANN / MUSIK:AF / CARL:NIELSEN:

34x27 cm, pp. 2-13 (vol. II).

I
S
II
S
III
/ HELLELIDEN :SANG: HR:OLUF SANG:- / DANSE-

Nos. 20, 22, 23 published as an offprint (Pl. Nos.

VISE:

IV

ELVERDANS / I”.155

14162a, c, 14163a).

Pl. No.: 13900 (1906).
234.2x27.2 cm, pp. 2-3.

PR 5

Front cover illustrated by Anne Marie Carl-Nielsen (?).

[No. 20 Skal blomsterne da visne]
Printed score (voice, pf.).

2

PR 4

Title page: “Illustreret Tidende / Nr. 9 / Søndag den[No. 18 Olufs Sang (Vegen er Dagen)]30. November 1902.”

Printed score (voice, pf.), ﬁrst edition.

On p. 142 score for No. 20.

1

Cover and title page: as PR 4 .
3

Pl. No.: 13901 (1906).

PR 534.2x27.2 cm, pp. 2-3.

[No. 22 Jens Vejmand (Hvem sidder der bagSkjærmen)]

PR 4

3

Printed score (voice, pf.).

[No. 19 Dansevise (Hr. Oluf der bredes dig Dug)

Title on cover: “Sten-Knackar / Kalle. / Musik av / Carl

Printed score (voice, pf.), ﬁrst edition.

Nielsen / Svensk Text av / Sven Scholander / FÖRLÄG-1

Cover and title page: as PR 4 .

GARENS EGENDOM FÖR ALLA LÄNDER. / STOCK-

Pl. No.: 13902 (1906).

HOLM. / A. B. NORDISKA MUSIKFÖRLAGET. / Scholan-

34.2x27.2 cm, pp. 3-5.

der – Wilhelm Hansen. / KJØBENHAVN & LEIPZIG /155 For Elverdans, see CNU IV/1.

Carl Nielsen Udgaven CN 00051

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WILHELM HANSEN, MUSIK-FORLAG. / KRISTIANIA.

Printed score (voice, pf.), ﬁrst edition.

/ NORSK MUSIK-FORLAG. / Brødrene Hals-Warmuth

Title on cover and title page: “Sange / af / Jeppe– Wilhelm-Hansen. / S. ELMBLAD.”

Aakjær / Skuespil / ULVENS / SØN/ Musik af / Carl

Pl. No.: 16473 (1916).

Nielsen / EIGENTHUM DES VERLEGERS FÜR ALLE

34.3x27 cm, pp. 2-5.

LÄNDER. – PROPRIÉTÉ POUR TOUS PAYS. / AUFFÜH-s

RUNGSRECHT VORBEHALTEN. – DROITS DE REPREPR 6SENTATION RÉSERVÉS. / KJØBENHAVN & LEIPZIG. /[No. 27 Fædreland! Fædreland!, No. 28 Ja, tag os,

WILHELM HANSEN, MUSIK-FORLAG. / KRISTIANIA.

vor Moder, No. 29 Følger hvo som følge kan!, No. 30

NORSK MUSIK-FORLAG. / (BRØDRENE HALS -WAR-

Vibekes Sang (Jeg mødte en Sang), No. 31 Havets Sang

MUTH – WILHELM HANSEN).”(Havet omkring Danmark)]

Pl. No.: 14563 (1909).

Printed score (voice, pf.), ﬁrst edition.

34x26.5 cm, pp. 2-6.

Title on cover and title page: “Helge Nissen tilegnet. /S

1SANGE / TIL / L.C. NIELSEN SKUESPIL / ‘WILLEMOES’

PR 9/ KOMPONEREDE / AF / CARL NIELSEN. /FORLÆGGE-[No. 38 Ak, min Rose visner bort, No. 39 Alt paa den

RENS EJENDOM FOR ALLE LANDE. / KJØBENHAVN &vilde Hede, No. 40 Denne er Dagen, som Herren

LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG. /TRYKT

har gjort!, No. 41 Den store, hvide Flok vi se, No. 42

I WILHELM HANSENS ETABL., KØBENHAVN.”

Der er en Bøn paa Jorden, No. 43 Der er en Vej, som

Pl. No.: 14197 (1908).

Verden ikke kender, No. 44 Det er et Under paa Ver-

34x26.5 cm, pp. 2-9.

dens Ø, No. 45 Det koster ej for megen Strid, No. 46
Dig vil jeg elske, du min Styrke, No. 47 Drag, Jesus,

PR 7

mig, No. 48 Dybt hælder Aaret i sin Gang, No. 49 Et[No. 32 Vi Sletternes Sønner har Drømme i Sind,

helligt Liv, en salig Død, No. 50 Forunderligt at sige,

No. 33 Fuglefængervise (I Skoven vipper de Fugle

No. 51 Fred med dig! og Fred med eder!, No. 52 Fredsmaa), No. 34 Toves Sang (Der stod en Engel hos mig),og Glæde, for dem græde, No. 53 Frisk op! endnu en

No. 35 Jægersangen (Glenten styrter fra Fjældets Kam)]

Gang, No. 54 Glæden hun er født i Dag, No. 55 Guds

Printed score (voice, pf.), ﬁrst edition.

Engle i Flok! synger liﬂigt i Kor, No. 56 Guds Fred er

Title page: “Vilhelm Herold / venskabeligt / tilegnet

mer end Englevagt, No. 57 Gud skal al Ting mage,/ Sange / af / Ludvig Holstein / Tove / komponerede /No. 58 Har Haand du lagt på Herrens Plov, No. 59

af / CARL NIELSEN / No. 1 Vi Sletternes Sønner har

Har nogen Lyst at kende, No. 60 Herren siger: Er I

Drømme i Sind / 2 ....... Fuglefængervise / 3 ....... Tovestrætte, No. 61 Herrens Røst var over Vandet!, No. 62

Sang / 4 ...... Jægersang. / Forlæggerens Ejendom / forHvi vil du dig saá klage, No. 63 Jeg fandt en Trøst,

alle Lande / Köbenhavn & Leipzig / Wilhelm Hansen,

No. 64 Jeg raaber fast, o Herre, No. 65 Jeg ved et/ Musik-Forlag.”lille Himmerig, No. 66 Korsets Tegn og Korsets Ord,

Pl. No.: 14237 a-d (1908).

No. 67 Luk Øjne op, al Kristenhed!, No. 68 Maria sad

34.6x26.5 cm, 4 fascicles with separate covers andpaa Hø og Straa, No. 69 Min Jesus, lad mit Hjerte faa,

pagination: 2-3, 2-3, 2-3, 2-5.

No. 70 Naar jeg betænker Tid og Stund, No. 71 Nu
Sol i Øst oprinder mild, No. 72 O, havde jeg dog tu-

PR 8sind Tunger, No. 73 O Helligaand! mit Hjerte, No. 74[No. 36 Gamle Anders Røgters Sang (Der staar en

O hør os, Herre, for din Død!, No. 75 O Kristelighed!,

Purle), No. 37 Kommer I snart, I Husmænd! (Raabet

No. 76 Op al den Ting, som Gud har gjort, No. 77 Op,

stiger i Morg’nens Skær)]I Kristne, ruster eder!, No. 78 O, sad jeg, som Maria

Carl Nielsen Udgaven CN 00051

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sad, No. 79 Paa alle dine Veje, No. 80 Som den gyldne

No. 93 Vor Verden priser jeg tusindfold, No. 94 Rosen

Sol frembryder, No. 81 Ton det, Himmel, syng det,blusser alt i Danas Have, No. 95 Sov ind, mit lille Nus-Jord, No. 82 Uforsagt, hvordan min Lykke, No. 83

seben!, No. 96 Farvel, min velsignede Fødeby!, No. 97

Under Korset stod med Smerte, No. 84 Utallige Blom-Jeg bærer med Smil min Byrde, No. 98 Nu er Dagenster paa Jorderig gro, No. 85 Verdens Børn har mangt

fuld af Sang]et Sted, No. 86 Vor Herre, han er en Konge stor]

Printed score (voice, pf.), ﬁrst edition.

Printed score (pf.), ﬁrst edition.

Title page: “Carl Nielsen / og / Thomas Laub / En Snes

Title page: “Wilhelm Hansen Edition. No. 1985 /

danske Viser / 1915 / FORLÆGGERENS EJENDOM FOR

SALMER OG AANDELiGE SANGE / HALVHUNDRED

ALLE LANDE. / KJØBENHAVN & LEIPZIG. / WILHELM

NYE MELODIER FOR / HJEM * KIRKE OG SKOLE /HANSEN, MUSIK-FORLAG / KRISTIANIA. NORSK

Komponerede af CARL NiELSEN / FORLÆGGERENSMUSIK-FORLAG. / (BRØDRENE HALS-WARMUTH

EJENDOM FOR ALLE LANDE / KØBENHAVN & LEIPZIG– WILHELM HANSEN.) / Copyright 1915 by Wilhelm/ WILHELM HANSEN, MUSIK-FORLAG / KRISTIANIA

Hansen, Leipzig”.

& BERGEN / NORSK MUSIK-FORLAG / Brødrene Hals

Pl. No.: 16067 (1915).

– Warmuth – Wilhelm Hansen. / STOCKHOLM &27x19 cm, cover, title page, table of contents andGÖTEBORG / A.B. NORDISKA MUSIKFÖRLAGET / Copy-

preface, pp. 3-34.

right 1919 by Wilhelm Hansen, Copenhagen”.

Reprinted several times.

Pl. No.: 17277 (1919).

ste
Contents of 1 Samling:

23x31 cm, pp. 3-50.

No. Com- Title
poser

AuthorI

CN

De Refsnæsdrenge,de Samsøpiger

Steen Steensen Blicher

II

TL

Det er hvidt herude

Steen Steensen Blicher

III

CN

Ud gaar du nu paa
Livets Vej

Steen Steensen Blicher

Udrundne er de gamle dage]

IVa

CN

I Skyggen vi vanke

Adam Oehlenschläger

Printed score (pf.), ﬁrst edition.

IVb TLI Skyggen vi vanke

Adam Oehlenschläger

Title page: “HØJSKOLEBLADET / 1917 / TIDENDE

V

CN

Underlige Aftenlufte Adam Oehlenschläger

FOR FOLKEOPLYSNING / UDGIVET AF / KONRAD

VI

TL

Hvor blev I røde
Roser dog

Adam Oehlenschläger

TOOGFYRRETYVENDE AARGANG / KOLDING /KON-

VII

CN

Naar Odin vinker

Adam Oehlenschläger

RAD JØRGENSENS BOGTRYKKERI / 1917”.

VIII TL

Fra kvalmfulde Mure Adam Oehlenschläger
til Marken saa huld!

IX

CN

Vender sig Lykken
fra dig

Carsten HauchX

TL

Jer er ikke længer,
saa vidt man ved

N.F.S. Grundtvig(voice, pf.) for No. 137.

XI

CN

Vor Verden priser
jeg tusindfold

Poul Martin Møller

PR 10

XII

CN

Rosen blusser alt i
Danas Have

Poul Martin Møller

XIII TL

Gertrud rider fra
Bloksbjærg brat

Poul Martin MøllerXIV CNSov ind, mit lille
NussebenPoul Martin Møller

2

PR 9

[No. 68 Maria sad paa Hø og Straa, No. 116 Udrundne
er de gamle Dage, No. 137 Tunge, mørke natteskyer,
No. 140 Udrundne er de gamle Dage, No. 147

JØRGENSEN / REDIGERET AF / HELGE SKOVMAND /26.2x19.5 cm, 1608 cols., advertisements for Nos. 1-52
(1917).
In cols. 1553-1554 score for No. 68; in cols. 979-980
score for Nos. 116, 140, 147; in cols. 1095-1098 score[No. 87 De Refsnæsdrenge, de Samsøpiger, No. 88
Ud gaar du nu paa Livets Vej, No. 89 I Skyggen vi
vanke, No. 90 Hjemvee (Underlige Aftenlufte), No. 91
Naar Odin vinker, No. 92 Vender sig Lykken fra dig,Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 393

393

22/02/09 8:31:52

XV

TL

Mellem Ellestub og
Torn

Poul Martin Møller

XXV

TL

Ja, I Sønner af Kæmpeæt N.F.S. Grundtvig

XXVI

CN

Nu er da Vaaren kommen

Adam Oehlenschläger

XVI CN

Farvel, min velsignede Poul Martin Møller
FødebyXXVII

CNHer vil ties, her vil
bies

H.A. Brorson

Hvor sødt i SommerAftenstunden

Adam Oehlenschläger

XVII TLXXVIIICNEn Sømand med etmodigt Bryst

Johannes Ewald

Tidt er jeg glad, og vil
dog gerne græde

B.S. Ingemann

XVIII TLXXIXTL

Her gad jeg bo og bygge Christian Winther

XIX CNJeg bærer med Smilmin Byrde

Jeppe Aakjær

XXX

TL

I Skoven, hvor jeg vandred

Christian WintherXX

Nu er Dagen fuld af
Sang

Jeppe Aakjær

XXXI

TL

Hvad sagde saa din
Fader

Christian Winther

XXI TLKom ud min lille
Stump

Emil Aarestrup

XXXII

TL

Der var kun to paa
denne Jord

Emil Aarestrup

XXII TL

Saa drager du ad
fremmed Land

Christian Winther

XXXIIICNMin lille Fugl, hvor
ﬂyver duH.C. Andersen

XXXIV

CN

Hun mig har glemt!
min Sorg hun ej see

H.C. Andersen

XXXV

CN

Højt ligger paa Marken H.C. Andersen
den hvide Sne

XXXVI

TL

Paa Mark og Eng, i Sko- Frederik Paludanvens LæMüllerCN

PR 11[No. 99 Nu er da Vaaren kommen, No. 100 Hvor sødti Sommeraftenstunden, No. 101 Tidt er jeg glad, og
vil dog gerne græde, No. 102 Min lille Fugl, hvor
ﬂyver du, No. 103 Hun mig har glemt! min Sorg
hun ej see, No. 104 Højt ligger paa Marken den
hvide Sne, No. 105 Nu springer Vaaren fra sin Seng,XXXVII TL

Naar man ved Mennesker hænger

Frederik PaludanMüllerXXXVIII CN

Nu springer Vaaren fra
sin Seng

Viggo Stuckenberg

XXXIX

TL

Stille, Hjærte, Sol gaar
ned

Jeppe AakjærXL

CNSe dig ud en Sommerdag Jeppe Aakjær

XLI

CN

Der dukker af Disenmin fædrene Jord

Jeppe Aakjær

XLII

CN

Hør, hvor letdens Vinger smækker

Jeppe Aakjær

XLIII

TL

Hvormed vil du føde
mig, mens du er ikkerig?

Gammel danskSkæmtevise

XLIV

CN

Der boede en Mand i
Ribe By

Gammel danskSkæmtevise

No. 106 Se dig ud en Sommerdag, No. 107 Der dukker af Disen min fædrene Jord, No. 108 Hør, hvor letdens Vinger smækker, No. 109 Der boede en Mandi Ribe By]
Printed score (voice, pf.), ﬁrst edition.
Title page: “Carl Nielsen / og / Thomas Laub / En Snesdanske Viser / 1917 / 2

denSamling / FORLÆGGERENSEJENDOM FOR ALLE LANDE. / KJØBENHAVN & LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG / Copyright1917 by Wilhelm Hansen, Leipzig.”
Pl. No.: 16649 (1917).
27x19 cm, cover, title page, table of contents for vols.
I and II, pp. 35-65.

PR 121

Reprinted several times.
Contents of 2
No.

den

[No. 110 Købmands-Vise (En Købmand han staar bøjet)]Samling:

Com- Title
poser

AuthorPrinted score (voice, pf.), ﬁrst edition.
.

.

Title page: “KØBMANDS-VISE / AF VALDEMAR RØR.

.

.

XXIII

TL

Som Fugle i den grønne N.F.S. Grundtvig
Lund

DAM / MUSIK AF CARL NIELSEN / FORLÆGGERENS

XXIV

TL

Der er et Land saa
kosteligt

WILHELM HANSEN-MUSIK FORLAG / KRISTIANIA. / NORSK

N.F.S. Grundtvig.

MUSIK-FORLAG. / BRØDRENE HALS-WARMUTH-WILHELM-

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 394

EJENDOM FOR ALLE LANDE / KØBENHAVN & LEIPZIG /394

22/02/09 8:31:53

HANSEN. / STOCKHOLM / A.B. NORDISKA MUSIKFÖRLAGET

Mester kommer, No. 145 Den store mester kommer!,/ SCHOLANDER-WILHELM HANSEN. / COPYRIGHT 1917 BY

No. 147 Udrundne er de gamle dage]

WILHELM HANSEN, LEIPZIG. / II”.

Printed score (pf.).

Pl. No.: 16709 (1917).

I “Jule-Hefte / NORDENS MUSIK / 1919 REDIGERET AF

34.5x27 cm, pp. 2-3.

CARL COHN HASTE 1. AARGANG”.
.

Illustration on title page signed “Bögelund 1917”.

Title on ﬁrst music page: “TO AANDELIGE SANGE”.
34.6x26.8 cm, 2 music pages; paginated 97-98.

PR 12

2

On p. 97 score for Nos. 115, 130, 145; on p. 98 a[No. 111 Hymne til Danmark (Danmark, i tusend Aar)]score for Nos. 116, 147; below system: “Udsættelsen

Printed score (voice, pf.), ﬁrst edition.

af begge Melodier kan benyttes som den er ogsaa

Title page: “HYMNE / TIL / DANMARK / AF / VALDE.

.

.

MAR RØRDAM / MUSIK AF CARL-NIELSEN / FORLÆG-til ﬁrestemmigt blandet Kor, men isaafald Nr. II en
Tone højere.”156

GERENS EJENDOM FOR ALLE LANDE / KØBENHAVN &LEIPZIG / WILHELM HANSEN-MUSIK FORLAG / KRISTIANIA.

.

PR 142/ NORSK MUSIK-FORLAG. / BRØDRENE HALS-WARMUTH-[No. 116 Udrundne er de gamle Dage]

WILHELM-HANSEN. / STOCKHOLM / A.B. NORDISKA

Printed score (pf.), ﬁrst edition.

MUSIKFÖRLAGET / SCHOLANDER-WILHELM HANSEN. /➤ PR 9 .
2

COPYRIGHT 1917 BY WILHELM HANSEN, LEIPZIG. / II”.
PR 15

Pl. No.: 16708 (1917).

[No. 117 Vildt gaar Storm mod sorte Vande, No. 118

34.5x27 cm, pp. 2-3.
.

Illustration on title page signed “Bögelund 1917”.

Min Pige er saa lys som Rav, No. 119 Dengang Ørnen

PR 13

No. 121 Tidselhøsten tegner godt, No. 122 Saa bittert[No. 112 Cithar, lad min Bøn dig røre, No. 113 Visse-

var mit Hjerte, No. 123 Dengang Døden var i Vente,

lulle nu, Barnlil!, No. 114 Alt Maanen oprejst staar]

No. 124 Som en rejselysten Flaade]Printed score (voice, pf.), ﬁrst edition.

Printed score (voice, pf.), ﬁrst edition.

Title page: “CARL NIELSEN / Opus 34 / 3 Sange af

Title page: “Carl Nielsen / Musik / til / Helge Rode’s Skuespil

Adam Oehlenschlägers / Aladdin / I. Cithar, lad min/ Moderen / Op 41 / Klaverudtog. / FORLÆGGERENS EJEN-

Bøn dig røre. / II. Visselulle nu, Barnlil! / III. Alt Maa-

DOM FOR ALLE LANDE / KØBENHAVN & LEIPZIG / WIL-

nen oprejst staar. / FORLÆGGERENS EJENDOM FOR

HELM HANSEN, MUSIK-FORLAG / KRISTIANIA & BER-

ALLE LANDE / KØBENHAVN & LEIPZIG / WILHELM

GEN / NORSK MUSIK-FORLAG / GÖTEBORG – STOCK-HANSEN, MUSIK-FORLAG / KRISTIANIA & BERGEN /HOLM – MALMÖ / A. B. NORDISKA MUSIKFÖRLAGET /NORSK MUSIK-FORLAG / BRØDRENE HALS-WARMUTH

Copyright 1921 by Wilhelm Hansen, Copenhagen”.

- WILHELM HANSEN / STOCKHOLM & GÖTEBORG / A.

Pl. No.: 17565 (1920).

B. NORDISKA MUSIKFÖRLAGET / Copyright 1919 by

30x23 cm, pp. 2-23.

Wilhelm Hansen, Copenhagen / II”.

Contains also 5 instrumental pieces arranged for pf.

var ﬂyveklar, No. 120 Ved Festen ﬁk en Moder Bud,

157

Pl. No.: 17134 (1919).
PR 16133.8x26.7 cm, pp. 2-5.

[No. 125 På det jævne, på det jævne!, No. 126 Derfor
1

kan vort øje glædes, No. 127 Jeg så kun tilbage, mig

PR 14[No. 115 Den store Mester kommer!, No. 116
Udrundne er de gamle Dage, No. 130 Den store

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 395

156 “The arrangement of either song may be used asthey are also for four-part choir, but in that case
No. II should be a tone higher”.
157 See CNU IV/1.

395

22/02/09 8:31:53

4

livets lyst bortklang, No. 128 Morgendug, der sagte

PR 16bæver i den lune vind, No. 129 Jord, i hvis favn,[No. 137 Tunge, mørke natteskyer]

No. 130 Den store Mester kommer!, No. 131 Der sad

Printed score (pf.), ﬁrst edition.

en ﬁsker så tankefuld, No. 132 St. St. Blicher (Hede-➤ PR 9 .
2lærken, den liden fugl), No. 133 Dér, hvor vi stred og
5sang, No. 134 Når somrens sang er sungen, No. 135

PR 16

De snækker mødtes i kvæld på hav, No. 136 Naturens[No. 139 Det danske Brød paa Sletten gror]ædle dyrker begærer ej dens krans, No. 137 Tunge,

Printed score (voice, pf.).

mørke natteskyer, No. 138 Som dybest Brønd gir altid

Title page: “BORUPBOGEN / HØJSKOLEN I KØBEN-klarest Vand, No. 139 Det danske Brød paa Sletten

HAVN GENNEM 30 AAR / 1891-1921 / SAMLET AF / AAGE

gror, No. 140 Udrundne er de gamle Dage, No. 141

THOMSEN BRANDMOSE / NYT NORDISK FORLAG / 1921”.

Betragt mit svage spind, No. 142 Frihed er det bedste

22x15 cm, pp. 12-126.

guld, No. 143 Nu lyser Løv i Lunde, No. 144 Syndﬂo-

On pp. 11-12 text for No. 139; on p. 13 score for No. 139.

den (Når nat udvælder)]6

Printed score (pf.), ﬁrst edition.

PR 16

Title on cover: “Carl Nielsen. / Tyve / folkelige / Melo-[No. 140 Udrundne er de gamle Dage]dier / FORLÆGGERENS EJENDOM FOR ALLE LANDE /Printed score (pf.).

KØBENHAVN & LEIPZIG / WILHELM HANSEN, MUSIK-➤ PR 9

2

FORLAG / KRISTIANIA & BERGEN / NORSK MUSIKFORLAG / GÖTEBORG – STOCKHOLM – MALMÖ / A.

PR 167

B. NORDISKE MUSIKFÖRLAGET / Copyright 1921 by[No. 140 Udrundne er de gamle Dage]

Wilhelm Hansen, Copenhagen. / II”.

Printed score (pf.).

Pl. No.: 17810 (1921).

➤ PR 141

27.6x19.5 cm, pp. 3-23, in green paper covers.
PR 1712

PR 16[No. 145 Den store mester kommer!, No. 146 Påske-[No. 130 Den store Mester kommer!]blomst! En dråbe stærk, No. 147 Udrundne er dePrinted score (pf.).

gamle dage, No. 148 Betragt mit svage spind, No. 149➤ PR 14 .

Jord, i hvis favn, No. 150 Jeg så kun tilbage, mig livets

1lyst bortklang, No. 151 Derfor kan vort øje glædes,
3

PR 16

No. 152 Naturens ædle dyrker begærer ej dens krans,[No. 131 Der sad en ﬁsker saa tankefuld, No. 159 Der

No. 153 Når somrens sang er sungen, No. 154 Dér,sad en ﬁsker saa tankefuld]

hvor vi stred og sang, No. 155 Vi ﬁk ej under tidernes

Printed score (pf.), ﬁrst edition.

tryk, No. 156 På det jævne, på det jævne!, No. 157

Title page: “HØJSKOLEBLADET / 1919 / TIDENDE FORFrihed er det bedste guld, No. 158 Når nat udvælder,

FOLKEOPLYSNING / UDGIVET AF / KONRAD JØRGEN-

No. 159 Der sad en ﬁsker så tankefuld, No. 160 De

SEN / REDIGERET AF / HELGE SKOVMAND / FIREOG-snækker mødtes i kvæld på hav, No. 161 Hedelærken,

FYRRETYVENDE AARGANG / KOLDING /KONRAD

den liden fugl, No. 162 Morgendug, der sagte bæver iJØRGENSENS BOGTRYKKERI / 1919”.

den lune vind, No. 163 Underlige aftenlufte, No. 164

26.2x19.5 cm, 1696 cols., advertisements for Nos. 1-52

Rosen blusser alt i Danas have, No. 165 Tunge, mørke(1919).

natteskyer, No. 166 Jeg bærer med smil min byrde,

In cols. 1631-1634 score for Nos. 131, 159.

No. 167 Du danske mand! af al din magt, No. 168

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 396

396

22/02/09 8:31:53

Vender sig lykken fra dig, No. 169 Som dybest brønd

26.2x19.5 cm, 1639 cols. advertisements for Nos. 1-52

gir altid klarest vand, No. 170 Nu er dagen fuld af(1922).

sang, No. 171 Nu springer våren fra sin seng, No. 172“Folkehøjskolens Melodibog / ved Carl Nielsen, Tho-

Nu lyser løv i lunde, No. 173 De refsnæsdrenge, demas Laub, Oluf ring og Thorvald Aagaard”, column

samsøpiger, No. 174 Farvel, min velsignede fødeby!,858 contains proofs of No. 149.

No. 175 Se dig ud en sommerdag, No. 176 I skyggen
5vi vanke, No. 177 Som en rejselysten ﬂåde]

PR 17

Printed score (pf.), ﬁrst edition.

[No. 159 Der sad en ﬁsker saa tankefuld]

Title page: “FOLKEHØJSKOLENS / MELODIBOG / MELO-

Printed score (pf.).

DIER TIL SANGBOG / UDGIVET AF FORENINGEN / FOR➤ PR 16 .
3HØJSKOLER OG / LANDBRUGSSKOLER / VED / CARL6NIELSEN – THOMAS LAUB / OLUF RING / THORVALDPR 17

AAGAARD / FORLÆGGERENS EJENDOM FOR ALLE

[No. 166 Jeg bærer med smil min byrde, No. 170 Nu

LANDE / KJØBENHAVN & LEIPZIG / KRISTIANIA

er dagen fuld af sang, No. 224 Fædrelandssang (Du& BERGEN / NORSK MUSIK-FORLAG / GÖTEBORG

danske Mand! af al din Magt, No. 247 Du frie, danske– STOCKHOLM – MALMÖ / A. B. NORDISKA MUSIK-

Tunge]FÖRLAGET.”

Printed score (pf.), ﬁrst edition.

Pl. No.: 17759 (1922).

Title page: “31 MELODIER / TIL / SYNG DIG GLAD /25.4x16 cm, pp. 1-341, in paper covers.

SAMLET AF PEDER JAKOBSEN / FORLÆGGERENS EJEN-

Nos. 145-177 correspond to Nos. 65, 85, 113, 125, 137,

DOM / KØBENHAVN & LEIPZIG. / WILHELM HANSEN,

141b, 157, 158, 162, 182a, 185, 192, 200, 215b, 245,

MUSIK-FORLAG. / KRISTIANIA & BERGEN / NORSK

359, 370, 424, 429, 430, 554, 564, 579, 584, 588a, 596,

MUSIK-FORLAG. / GÖTEBORG – STOCKHOLM – MALMÖ

599a, 607, 627, 653, 666, 668a, 673.

/ A.B. NORDISKA MUSIKFÖRLAGET.”
Pl. No.: 18371 (1923).

2

PR 17

27x19 cm, pp. 3-23.

[No. 145 Den store mester kommer!, No. 147

On p. 18 score for No. 166; on p. 17 score for No. 170;

Udrundne er de gamle dage]on p. 12 score for No. 224; on p. 16 score for No. 247.

Printed score (pf.).
➤ PR 14 .
1

7

PR 17

[No. 170 Nu er dagen fuld af sang]
3

PR 17

Printed score (pf.).

[No. 147 Udrundne er de gamle dage]➤ PR 176.

Printed score (pf.).
➤ PR 9 .
2

PR 181[No. 178 Lær mig, nattens stjærne, No. 179 Sangen

4

PR 17

har lysning, No. 180 Hvad synger du om så højt i det[No. 149 Jord, i hvis favn]

blå?, No. 181 Nu skal det åbenbares]

Title page: “HØJSKOLEBLADET / 1922 / TIDENDE FOR

Printed score (pf.).

FOLKEOPLYSNING / UDGIVET AF / FRU M. JØRGENSEN

Title page: “CARL NIELSEN / Fire folkelige Melodier // REDIGERET AF / HELGE SKOVMAND / SYVOGFYRRE-Lær mig, nattens stjærne / Sangen har lysning / Hvad

TYVENDE AARGANG / KOLDING /KONRAD JØRGEN-

synger du om / Nu skal det åbenbares / FORLÆGGE-SENS BOGTRYKKERI / 1922”.

RENS EJENDOM FOR ALLE LANDE / KØBENHAVN &Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 397

397

22/02/09 8:31:54

5

LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / OSLO

PR 18

/ NORSK MUSIKFORLAG / GÖTEBORG – STOCKHOLM[No. 181 Nu skal det åbenbares]– MALMÖ / A. B. NORDISKA MUSIKFÖRLAGET / Copy-

Printed score (pf.).

right 1925 by Wilhelm Hansen, Copenhagen”.

➤ PR 18 .
2

Pl. No.: 18441 (1925?).
26.8x19.2 cm, pp. 2-5, in green paper covers.

6

PR 18

[No. 181 Nu skal det åbenbares]
2

PR 18

Printed score (pf.).

[No. 178 Lær mig, nattens stjærne, No. 179 Sangen

Title page: “UBBERUP HØJSKOLES / AARSSKRIFT /har lysning, No. 180 Hvad synger du om så højt i det

1922 / TRYKT SOM MANUSKRIPT / SLAGELSE / TRYKT I

blå?, No. 181 Nu skal det åbenbares, No. 199 Dane-

CENTRALTRYKKERIET / 1922”.

vang med grønne bred]

22x15 cm, pp. 3-40.

Printed score (pf.).

On pp. 16-17 score for No. 181.

Title page: “FOLKEHØJSKOLENS / MELODIBOG / MELODIER TIL SANGBOG / UDGIVET AF FORENINGEN / FOR

PR 19HØJSKOLER OG / LANDBRUGSSKOLER / VED / CARL

[No. 182 Jeg ved en Lærkerede, No. 183 Solen er

NIELSEN - THOMAS LAUB / OLUF RING / THORVALD

saa rød, Mor, No. 184 Tyst som Aa i Engen rinder,

AAGAARD / ANDET OPLAG / FORLÆGGERENS EJENDOM

No. 185 Spurven sidder stum bag Kvist, No. 186 Den

FOR ALLE LANDE / KJØBENHAVN & LEIPZIG / WILHELM

Spillemand spiller paa Strenge, No. 187 Naar Smaa-

HANSEN, MUSIK-FORLAG . / KRISTIANIA & BERGEN. /børn klynker ved Aftentide, No. 188 Grøn er Vaarens

NORSK MUSIK-FORLAG. / GÖTEBORG – STOCKHOLM

Hæk, No. 189 Jeg lægger mig saa trygt til Ro, No. 190– MALMÖ / A. B. NORDISKA MUSIKFÖRLAGET.”O, hvor jeg er glad i Dag, No. 191 Den danske Sang er

Pl. No.: 17759 (1922/1923).

en ung, blond Pige]

25.4x16 cm, pp. 1-346, in paper covers.

Printed score (voice, pf.).

1

As PR 17 , except pp. 334-338 containing new, alterna-

Title page: “CARL NIELSEN / TI DANSKE / SMAASANGE

tive melodies for 8 of the songs from the ﬁrst edition,/ SKANDINAVISK MUSIKFORLAG A/S / KØBENHAVN /5 of which are by Nielsen (Nos. 178-181 and 199).

COPYRIGHT / 1926 / II”.

On p. 335 score for No. 178 with heading “Nr. 153b.”; on

Pl. No.: S.B. M. 9852 (1926).

pp. 335-336 score for No. 179 with heading “Nr. 212b.”;28.4x19.4 cm, pp. 4-15, in grey covers.

on p. 336 score for No. 180 with heading “Nr. 407c.”; on1

p. 338 score for No. 181 with heading “Nr. 626b.”; on p.

PR 20

337 score for No. 199 with heading “421b.”.

[No. 196 Lær mig, nattens stjærne, No. 197 Sangen
har lysning, No. 198 Hvad synger du om så højt i det

3

PR 18

blå?, No. 199 Danevang med grønne bred, No. 200[No. 179 Sangen har lysning]

Nu skal det åbenbares, No. 201 Hvem sidder derPrinted score (pf.).

bag skærmen, No. 202 Vi nævner et navn, No. 203➤ PR 18 .

Havet omkring Danmark, No. 204 Vi sletternes søn-2

ner har drømme i sind, No. 205 Der dukker af disen
4

PR 18

min fædrene jord, No. 206 Kan I mærke, det lysner[No. 180 Hvad synger du om så højt i det blå?]af solskin i sindet, No. 207 Frydeligt med jubelkor,

Printed score (pf.).

No. 208 Vinden er så føjelig, No. 209 Mit hjem, hvor

➤ PR 18 .

mine fædres fjed, No. 210 Der er en gammel rønne

2Carl Nielsen Udgaven CN 00051

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her udenfor vor by, No. 211 Om strømmen mod dig

HOLGER DRACHMANN / MUSIK / AF / CARL NIELSEN. /bruser, No. 212 Ud går du nu paa livets vej, No. 213 I

TITELBILLEDET AF HANS NICOLAI HANSEN. / FORLÆG-solen går jeg bag min plov]

GERENS EJENDOM FOR ALLE LANDE. / KJØBENHAVN &Printed score (pf.).

LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG. / Copy-

Title page: “TILLÆG / TIL / FOLKEHØJSKOLENS /right 1906 by Wilhelm Hansen, Kjøbenhavn & Leipzig.”

MELODIBOG / MELODIER TIL SANGBOG / UDGIVET

Pl. No.: 13869 (1906).

AF FORENINGEN / FOR HØJSKOLER OG / LANDBRUGS-

34.5x27 cm, pp. 2-3.

SKOLER / VED / CARL NIELSEN – THOMAS LAUB /2

OLUF RING / THORVALD AAGAARD / FORLÆGGERENSPR 21

EJENDOM FOR ALLE LANDE / KØBENHAVN OG LEIP-[No. 224 Fædrelandssang (Du danske Mand! af al din

ZIG / WILHELM HANSEN, MUSIK-FORLAG / OSLO /Magt)]NORSK MUSIK-FORLAG / STOCKHOLM / A. B. NORDI-

Printed score (pf.)

SKA MUSIKFÖRLAGET”.

➤ PR 17 .
6

Pl. No.: 19385 (1927).
3

25.4x16 cm, pp. 4-65, in paper covers.

PR 21

Nos. 196-213 correspond to Nos. 3, 4, 5, 6, 8, 17, 23,[[No. 224 Fædrelandssang (Du danske Mand af al din

29, 32, 34, 41, 56, 58, 72, 74, 83, 85, 94.

Magt)]
Title page: “MUSIK / FOR ENHVER / KØBENHAVN &

2

PR 20

LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / OSLO

[No. 199 Danevang med grønne bred]/ NORSK MUSIKFORLAG / STOCKHOLM / A.B. NORDI-

Printed score (pf.).

SKA MUSIKFÖRLAGET / 20864”➤ PR 18 .

Pl. No. 20864 (1928)2

33x26 cm, pp. 3-95.
PR 20

3

On pp. 76-77 score for No. 224[No. 207 Frydeligt med jubelkor, No. 227 De unges
1sang (Vi ﬁk ej under tidernes tryk)]

PR 22

Printed score (pf.).

[No. 227 De unges sang (Vi ﬁk ej under tidernes tryk)]

Title page: “MELODISAMLING / TIL / DE UNGES SANG-

Printed score (pf.), ﬁrst edition.

BOG / UDGIVET AF / K.F.U.M. OG K.F.U.K. I DANMARK

Title page: “Hr. N.H. Rasmussen tilegnet. / De unges/VED / C. C. GAD / DE UNGES FORLAG – AARHUS

Sang / TEKST / AF / C. Hostrup / MUSIK / AF / CARL/ HOVEDKOMMISSION: O. LOHSE. KØBENHAVN /NIELSEN. / FORLÆGGERENS EJENDOM FOR ALLE LAN-MCMXXIX”.

DE. / KJØBENHAVN & LEIPZIG. / WILHELM HANSEN,

Pl. No. U.F. 1099 (1929 ?).

MUSIK-FORLAG. / KRISTIANIA. NORSK MUSIK-FORLAG.

29.5x22 cm, pp. 1-246.

/ (BRØDRENE HALS-WARMUTH – WILHELM HANSEN.)”.

On pp. 154-155 score for No. 207; on p. 135 score for

Pl. No.: 14610 (1910).

No. 227.

27x17 cm, pp. 2-3.

1

2

PR 21

PR 22

[No. 224 Fædrelandssang (Du danske Mand! af al din[No. 227 De unges sang (Vi ﬁk ej under tidernes tryk)]Magt)]

Printed score (pf.).

Printed score (voice, pf.) ﬁrst edition.

Title page: “CAND. POLYT. N. H. RASMUSSENS /Cover and title page: “FÆDRELANDSSANG / AF /GYMNASTISKE INSTITUT / VODROFFSVEJ 51, HOVED-Carl Nielsen Udgaven CN 00051

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BRANDSTATIONEN, VESTERVOLD 80, FORSAMLINGS-

Title page: “BØRNEHJÆLPSDAGENS SANG / DEN 16.

BYGNINGEN, FORHÅBNINGSHOLMS ALLÉ 18 / 1909. /MAJ 1911. / TEKST AF / JOHANNES JØRGENSEN. /KØBENHAVN. GRÆBES BOGTRYKKERI”.

MUSIK AF CARL NIELSEN. / SÆLGES TIL FORDEL FOR

22.8x14.5 cm, pp. 6-13.

BØRNEHJÆLPSDAGEN. / 25 Øre. / TRYKT I WILHELM

Programme for N.H. Rasmussen’s Gymnastic Institu-

HANSENS ETABL., KJØBENHAVN.”te, after title page one folio torn out, on pp. 4-6 score

Pl. No.: 14892 (1911).

for No. 227.

27x17 cm, pp. 2-3.

3

PR 22

PR 25

[No. 227 De unges sang (Vi ﬁk ej under tidernes tryk)][No. 231 Katholsk Ungdomssang (Velsignet være du,Printed score (pf.).

vor Herre, Gud)]

Title page: “Melodier / til / ‘Sangbog for den danske

Printed score (pf.), ﬁrst edition.

folkehøjskole’, / samlede af / Niels Nielsen Vad og

Title page: “Nordisk Ugeblad / for katholske Kristne.

Anders Kirkegård, / udgivne af / N. Johan Laursen. // Et Tidsskrift til kristelig Oplysnings og Opbyggelses

5te oplag. / Erslev & Hasselbalch, København. /Trykt:

Fremme. / Udgivet af / Ansgarius-Foreningen. / Redi-

S. Jensen Sort. Aarhus. / 1912.”

geret af / NIELS HANSEN, / cand. mag. / 61. Aargang /20.5x13.5 cm, pp. 2-360, “Tillæg II”: 2-82.

KØBENHAVN. / Mohns Bogtrykkeri. / 1913.”

On p. 22 score for No. 227.

21.8x13.5 cm, pp. 2-928.
On p. 378 text for No. 231 with title “Katholsk

4158

on p. 432 score for

PR 22

Ungdomssang. Egen Melodi.”,[No. 227 De unges sang (Vi ﬁk ej under tidernes tryk)]

No. 231 with title “Melodi til Johs. Jørgensens Ung-

Printed score (pf.).

domssang.”

159➤ PR 20 .
3

PR 26
PR 23

[No. 233 Fredlys din Jord, du danske Mand!][No. 228 Halloges Sang (Min Hjelm er mig for blankPrinted score (voice, pf.), ﬁrst edition.

og tung)]

Title page: “CARL NIELSEN / FREDLYS DIN JORD, /Printed score (voice, pf.), ﬁrst edition.

DU DANSKE MAND! / TEKST AF / ANDERS W. HOLM

Title page: “TIL VENNERNE / MARIE OG HOTHER/ FORLÆGGERENS EJENDOM FOR ALLE LANDE. /PLOUG / HALLOGES / SANG / AF / HAGBARTH / OGKJØBENHAVN & LEIPZIG. / WILHELM HANSEN, MU-/ SIGNE / MUSIK / af / CARL NIELSEN / FORLÆGGE-SIK-FORLAG. / KRISTIANIA. NORSK MUSIK-FORLAG.

RENS EJENDOM FOR ALLE LANDE. / KJØBENHAVN &/ (Brødrene Hals – Warmuth – Wilhelm Hansen.)

LEIPZIG. / WILHELM HANSEN, MUSIK-FORLAG. / KRI-

/ Copyright 1914 by Wilhelm Hansen, Leipzig / I”;

STIANIA. NORSK MUSIK-FORLAG. / (BRØDRENE HALS

stamped “II”.

– WARMUTH – WILHELM HANSEN/ II)”.

Pl. No.: 15868 (1914).

Pl. No.: 14743 (1910).

34x27 cm, pp. 2-3.

34x27 cm, pp. 2-3.
PR 27
PR 24

[No. 236 Barnets Sang (Kom, i Dag maa alle synge)][No. 230 Børnehjælpsdagens Sang (Vi Børn, vi Børn,

Printed score (pf.), ﬁrst edition.

vi vaagner)]

Title page: “Børnehjælpsdagens / Sang / Tekst af

Printed score (pf.), ﬁrst edition.
158 “Catholic youth song. Independent melody”.
159 “Melody for Johs. Jørgensen’s youth song”.

Carl Nielsen Udgaven CN 00051

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Johannes Dam / Musik af / Carl Nielsen. / KJØBEN-PR 31

HAVN. / WILHELM HANSEN, MUSIK-FORLAG.”[No. 243 Gry (Mørket viger, Dagen stiger)]Pl. No.: 381 C. N. (1915).

Printed score (pf.), ﬁrst edition.

26.8x17 cm.

Title page: “GRY / MUSIK AF / CARL NIELSEN / Tekst
af H Lorenzen / FORLÆGGERENS EJENDOM FOR ALLE

PR 28

LANDE / KØBENHAVN & LEIPZIG / WILHELM HANSEN,[No. 237 Ariels Sang (Selv naar Tordenen tynger)]

MUSIK-FORLAG. / KRISTIANIA & BERGEN / NORSK MU-

Printed score (voice, pf.) ﬁrst edition.

SIK-FORLAG. / Brødrene Hals – Warmuth – Wilhelm

Title page: “Ariels Sang / AF PROLOGEN VED MINDE-

Hansen / STOCKHOLM & GÖTEBORG / A.B. NORDISKA

FESTEN FOR SHAKESPEARE 1916. / AF / Helge Rode /MUSIKFÖRLAGET / Copyright 1920 by Wilhelm Han-

MUSIK / AF / Carl Nielsen. / FORLÆGGERENS EJENDOM

sen, Copenhagen / II”.

FOR ALLE LANDE / KJØBENHAVN & LEIPZIG / WIL-

Pl. No.: 17338 (1920).

HELM HANSEN, MUSIK-FORLAG / KRISTIANIA NORSK

34.3x27.2 cm, pp. 2-3.

MUSIK-FORLAG / BRØDRENE HALS – WARMUTH– WILHELM HANSEN / STOCKHOLM / A.B. NORDISKAPR 32

MUSIKFÖRLAGET / SCHOLANDER-WILHELM HANSEN /[No. 246 Sang for Dansk Arbejde (Føden og Klæden,Copyright 1916 by Wilhelm Hansen, Leipzig. / II”

Baaden og Teltet)]Pl. No.: 16594 (1916).

Printed score (pf.), ﬁrst edition.

34x27 cm, pp. 3-5.

Title page: “SANG / FOR / DANSK ARBEJDE / af VALDEMAR RØRDAM / MUSIK AF / CARL NIELSEN / Udgivet af /PR 29

LANDSFORENINGEN ‘DANSK ARBEJDE’ / I Kommission[No. 238 Studie efter Naturen (Solen skinner i Nabo-

hos PEDER FRIIS / PRIS KR 1,00”

ens Gaard)]

30.5x23.5 cm.

Printed score (voice, pf.), ﬁrst edition.
Title page: “Carl Nielsen / Studie efter Naturen / TEKST AF

PR 33

H.C. ANDERSEN / Forlæggerens Ejendom for alle Lande[No. 247 Du frie, danske Tunge]/ KJØBENHAVN & LEIPZIG. / WILHELM HANSEN, MUSIK-

Printed score (pf.), ﬁrst edition.

FORLAG. / KRISTIANIA. NORSK MUSIK-FORLAG. / Brødre-➤ PR 17

6

ne Hals – Warmuth – Wilhelm Hansen. / STOCKHOLM /A.B. NORDISKA MUSIKFÖRLAGET / Scholander-Wilhelm

PR 34

Hansen / Copyright 1916 by Wilhelm Hansen, Leipzig.”[No. 248 Julesang (Kom, Jul, til Jord, kom høje Gæst]Pl. No.: 16595 (1916).

Printed score (pf.), ﬁrst edition.

34.5x27 cm, pp. 3-5.

Title page: “Julesang / Tekst af / Johs. Wiberg / Sati Musik af / Carl Nielsen / Forlæggerens Ejendom

PR 30

for alle Lande. / København & Leipzig. / Wilhelm[No. 241 Christianshavn (Kong Christian stod paa

Hansen, Musik-Forlag / Kristiania & Bergen / Norsk

Slotsholmens Grund)]Musik-Forlag / Göteborg – Stockholm – Malmö / A.B.

Printed score (pf.), ﬁrst edition.

Nordiska Musikförlaget / Copyright 1923 by Wilhelm

Title page: “Christianshavn / 1618-1918. / Musik af / Carl

Hansen, Copenhagen. / II”.

Nielsen. /Tekst af / O. Bauditz. / I Kommission hos Boghandler

Pl. No.: 18439 (1923).

Schou, Torvegade 7. / A/S Nodetrykkeriet ‘Presto’, København V.”

31x23.5 cm.

27x18.5 cm.

Carl Nielsen Udgaven CN 00051

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PR 351

Balladen om Bjørnen / Vers af / Aage Berntsen / efter[No. 249 Julesang (Himlen mørkner stor og stum)]

Motiv fra den svenske Digter / Ahlmquist / Musik af

Printed score (pf.), ﬁrst edition.

/ Carl Nielsen / Op. 47 / FORLÆGGERENS EJENDOM

Title page: “Julesang / Tekst af / Mogens Falck /FOR ALLE LANDE / KØBENHAVN & LEIPZIG. / WIL-

Musik af / Carl Nielsen / FORLÆGGERENS EJENDOMHELM HANSEN, MUSIK-FORLAG. / KRISTIANIA & BER-

FOR ALLE LANDE / København & Leipzig / WILHELM

GEN / NORSK MUSIK-FORLAG. / GÖTEBORG – STOCK-HANSEN, MUSIK-FORLAG / Kristiania & Bergen /HOLM – MALMÖ / A.B. NORDISKA MUSIKFÖRLAGET. /Norsk Musik-Forlag / Göteborg - Stockholm - Malmö /Copyright 1924 by Wilhelm Hansen, Copenhagen”.

A.B. Nordiska Musikförlaget / Copyright 1923 by Wil-

Pl. No.: 18479 (1924).

helm Hansen, Copenhagen/ II.”

30.5x23.5 cm, pp. 2-11.

Pl. No.: 18413 (1923).
31x23.5 cm.

PR 38[No. 262 Der er et yndigt Land]

2

PR 35

Printed score (pf.), ﬁrst edition.

[No. 249 Julesang (Himlen mørkner stor og stum)]

Title page: “DER ER ET YNDIGT LAND / CARL

Printed score (pf.).

NIELSEN / Forlæggerens Ejendom for alle Lande. /Nationaltidende i Tillæg “Søndag” 23. dec. 1923 s. 10).

KØBENHAVN & LEIPZIG / Wilhelm hansen, Musik-

Printed score for No. 249 with heading “JULESANG”.

Forlag / Kristiania & Bergen / Norsk Musik-Forlag/ Göteborg – Stockholm – Malmö / A.B. Nordiska

1

PR 36

Musikförlaget / Copyright 1924 by Wilhelm Hansen,[No. 250 Hjemlige Jul, straaler Du nu!]

Copenhagen. / II”.

Printed score (pf.), ﬁrst edition, facsimile of manu-

Pl. No.: 18475 (1924).

script copy (Johannes Andersen).

31.2x23.5 cm

Reproduced in Magasin, p. 9 (supplement to Politiken),23.12.1923.

PR 39

39x28 cm.

[No. 267 Vocalise-Etude]
Printed score (voice, pf.), ﬁrst edition.

2

PR 36

Title page: “Répertoire Moderne / de / Vocalises-Etu-[No. 250 Hjemlige Jul, straaler Du nu!]

des / (ﬁgurant aux programmes des Concours du Conser-

Printed score (pf.) second edition.

vatoire de Paris) / publiées sous la Direction / de / A.L.

Title page: “Hjemlige Jul / MUSIK: / CARL NIELSEN

Hettich / Professeur au Conservatoire de Paris / VOLUME/ TEKST: / EMIL BØNNELYCKE / EJENDOM FOR ALLE

/ 6 / [...] No. 57. [Pour voix] élevées [notated indication

LANDE / PEDER FRIIS MUSIKFORLAG, KØBENHAVN. /of ambitus] Carl NIELSEN [...] / La classiﬁcation des voix

NORDISK NODESTIK- & TRYKKERI. KØBENHAVN.”a été établie d’après la tessiture de chaque vocalise et non

Pl. No.: P.F. 777 (1926).

d’après son étendue indiquée ci-dessus. / ALPHONSE LE-

31x23.5 cm, pp. 2-3.

DUC / Éditions Musicale / 175, Rue Saint-Honoré, PARISie/ Copyright by A. Leduc et C / 1907-1909-1919-1920-1921es

PR 37

1924-1928 / Chaque recueil de 10 N / Prix : 6 fr. net.”[No. 251 Balladen om Børnen (De dræbte Bjørnens

Preface in French, English, German, Italian, Spanish

Unger)]and Portuguese.

Printed score (voice, pf.), ﬁrst edition.

Pl. No.: A.L. 17,419 (1928).

Title page: “Anders Brems venskabeligst tilegnet /31.5x23.5 cm, pp. 2-7.

Carl Nielsen Udgaven CN 00051

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PR 401

PR 43[No. 268 Dansk Vejr (Sus af Vind og Bølgeslag)][No. 272 Guldﬂoden (Der strømmer en Flod mod det

Printed score (pf.), ﬁrst edition.

evige Hav)]

Title page: “DANSK VEJR / SUS AF VIND OG BØLGE-Printed score (pf.), ﬁrst edition.

SLAG / DIGT AF / OVE RODE/ MED TONER AF / CARL

Title page: “UBBERUP HØJSKOLES / AARSSKRIFT /NIELSEN / EJENDOM FOR ALLE LANDE / BORUPS

1928 / TRYKT SOM MANUSKRIPT / KONRAD JØRGEN-MUSIKFORLAG / PALÆGADE 2 - - KØBENHAVN / COPY-SENS BOGTRYKKERI – KOLDING / MCMXXVIII.”RIGHT 1927 / Hermes Tryk, København.”

23x15.5 cm, pp. 4-55.

27x19 cm.

On pp. 4-5 score for No. 272.

2

PR 40

PR 44

[No. 268 Dansk Vejr (Sus af Vind og Bølgeslag)][No. 274 Vi Jyder (Vi er Jyder, Børn af Landet)]

Printed score (pf.), second edition.

Printed score (voice, pf.), ﬁrst edition.

Title page: “POLITISK AARBOG / OG ALAMANAK /Title page: “Carl Nielsen: / VI JYDER / Sang af / Vilhelm

1929 / UDGIVET AF DET RADIKALE VENSTRE / REDIGE-

From Bartrumsen’s Skuespil / ‘Fra Rold til Rebild’ /RET AF / ANTON ABILDTRUP / 5. AARGANG / NOVEM-

Kaabers Musikforlag / Aarhus Musikhandel / Sønder-

BER 1928 / C. NORDLUNDES BOGTRYKKERI-HILLERØD

gade 1 / Aarhus / Copyright 1929 by A. Kaaber, Aarhus.”/ Oswald Terkelsen”.

34x27 cm.

a19.5x14 cm, pp. 31-143.
On pp. 86-87 score for No. 268.

PR 45
[No. 278 Fremtidens Land!]PR 41

Printed score (pf.), ﬁrst edition.

[No. 269 Den trænger ud til hvert et sted]

Title page: “UBBERUP HØJSKOLES / AARSSKRIFT /Printed score (pf.), ﬁrst edition.

1929 / TRYKT SOM MANUSKRIPT / KONRAD JØRGEN-

Title page: “TIDSSKRIFT / FOR / DANSK FOLKEOPLYS-SENS BOGTRYKKERI – KOLDING / MCMXXIX.”

NING / REDIGERET AF EJNAR SKOVRUP / I. AARGANG

23x15.5 cm, pp. 4-48.

MCMXXVII-VIII”.

On pp. 4-5 score for No. 278.

22.5x18 cm, pp. 5-640.
PR 46

On p. 309 score for No. 269.

[No. 280 Ind under Jul, hvor er det trist]
PR 42

Printed score (pf.), ﬁrst edition.

[No. 270 Jeg gik i marken og vogtede får]Title page: “HØJSKOLEBLADET / 1929 / TIDENDE FOR

Printed score (pf.), ﬁrst edition.

FOLKEOPLYSNING / UDGIVET AF / V. SCHMIDT OG

Title page: “HØJSKOLEBLADET / 1928 / TIDENDE FORHELGE SKOVMAND / FIREOGHALVTREDSINDSTYVEN-FOLKEOPLYSNING / UDGIVET AF / V. SCHMIDT OG

DE AARGANG / KOLDING /KONRAD JØRGENSENSHELGE SKOVMAND / TREOGHALVTREDSINDSTYVEN-BOGTRYKKERI / 1929”.

DE AARGANG / KOLDING /KONRAD JØRGENSENS

26.2x19.5 cm, 1664 cols.

BOGTRYKKERI / 1928”.

In cols. 1598-1602 score for No. 280.

26.2x19.5 cm, 1672 cols.
In cols. 1627-1628 score for No. 270.

PR 47
[No. 281 I Kølende Skygger, No. 282 Dannebrog, vift
med din Vinge]

Carl Nielsen Udgaven CN 00051

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403

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Printed score (pf.), ﬁrst edition.

Ledsagelse. Nr. 4 synges unisont uden / Ledsagelse. Der

Title page: “TIDSSKRIFT / FOR / DANSK FOLKEOPLYS-

ﬁndes kun ganske faa tekniske Anvisninger. Den spil-

NING / REDIGERET AF EJNAR SKOVRUP / III. AARGANG

lende maa selv danne sig et teknisk / Grundlag. Ettallet

MCMXXIX-XXX”.

foran Nøglen angiver Toneartens Grundtone, Tallene

22.5x18 cm, pp. 2-626.

under Systemet Intervallerne regnet / fra Grundtonen.

On p. 176 score for No. 281; on p. 552 score forDe rytmiske Noter tjener til særskilt rytmisk Studium,No. 282.

idet de f. Eks. kan bankes paa et / Bord, medens Lederen
angiver Taktrytmen. / Gid de smaa Blade maatte bringe
160

PR 48

Glæden til mange Hjem. / Maj 1931. / C. M. Savery.”[No. 282 Dannebrog, vift med din Vinge]

At bottom of page: “ARRANGEMENTET FORLAGETS

Printed score (pf.), ﬁrst edition.

EJENDOM FOR ALLE LANDE: / SKANDINAVISK OG➤ PR 47.

BORUPS MUSIKFORLAG / AKTIESELSKAB / BREDGADE
31 / KØBENHAVN K. / NORDISK NODESTIK-TRYKKERI

PR 49

KØBENHAVN / III”.

[No. 285 Danmark, nu blunder den lyse Nat]

Recto: anonymous: “Kanon.” and anonymous: “Dans

Printed score (pf.), ﬁrst edition, facsimile of manu-

paa Amager.”

script source MS 33 2031.

Verso: score (3 vl.) for No. 292 with 3 stanzas between

Reproduced in the newspaper Politiken 1.1.1930, p. 23.

vl. 1 and vl. 2; C.E.F. Weyse, “Rullende hen ---”; Franz
Schubert, “Velkommen, kære skønne Maj.”

PR 50[No. 286 Gensyn (Hvor blev den Blomst, som fyldte)]

PR 52

Printed score (pf.), ﬁrst edition.

[No. 293 Skummende laa Havet, No. 294 Danmark, duTitle page: “HØJSKOLEBLADET / 1930 / TIDENDE FOR

kornblonde Datter]

FOLKEOPLYSNING / UDGIVET AF / V. SCHMIDT OG

Printed score (SATB).

HELGE SKOVMAND / FEMOGHALVTREDSINDSTYVEN-

Title page: “Danske Korsange / 32 nye Sange / for /DE AARGANG / KOLDING /KONRAD JØRGENSENS

Sopran, Alt, Tenor og Bas. / Samlet og udgivet / af

BOGTRYKKERI / 1930”.

/ Bestyrelsen for / ‘Danske Læreres Sangkor’ / ved /26.2x19.5 cm, 1664 cols.

L. J. Hansen. / Kommunelærer, f. T: Formand. / 1913

In cols. 335-336 score for No. 286.

/ FORLÆGGERENS EJENDOM FOR ALLE LANDE. /KJØBENHAVN & LEIPZIG. / WILHELM HANSEN, MUSIK-PR 51[No. 292 Den Spillemand spiller paa Strenge]

160 “Loose sheets for singing and playing. No.
1 published by the Society for Young Music
Amateurs, edited by C.M. Savery. These sheets aremeant for those who will sing and play together
in the woods or indoors and who want to enjoy
pure and primitive music. All pieces may be
performed by instruments alone, for example 3
violins or woodwind instruments, Nos. 1, 2 and5 may be sung with or without instrumental accompaniment. No. 4 is to be sung unison withoutaccompaniment. Only very few technical instructions are given. The player himself must createa technical foundation. The ﬁgure 1 before thekey signature indicates the key tonic; the ﬁgures
below the staves indicate the intervals in relation
to the tonic. The rhythmic notes are meant for
special rhythmic studies – they may be marked byknocking on a table while the teacher indicatesthe pulse. May these modest sheets bring happiness to many homes. May 1931. C.M. Savery.”Printed score (voice, 3 vl.)
Pl. No.: S. B. M. 774 (Maj 1931).
26.3x17.3 cm, 1 folio.
Heading: “Løse blade til Sang og Spil / Nr. 1 / udgivet af
Foreningen for unge / Musikamatører, redigeret af C. M.
Savery. / Disse Blade er til dem, som vil synge og spillesammen ude i Skoven eller i Stuen, og vil glæde / sigover den rene primitive Musik. Alle Stykker kan udføres
af Instrumenter alene, f. Eks. 3 Violiner eller / Træblæsere, Nr. 1, 2 og 5 kan synges med eller uden instrumental

Carl Nielsen Udgaven CN 00051

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FORLAG. / KRISTIANIA. / NORSK MUSIK-FORLAG. /OTHEK / BLANDET KOR / (Sopran, Alt Tenor og Bas).

(BRØDRENE HALS - WARMUTH - WILHELM HANSEN.)”/ […] / KJØBENHAVN & LEIPZIG. / WILHELM HANSEN,

Pl. No.: 15592 (1913).

MUSIK-FORLAG. / FORLÆGGERENS EJENDOM FOR

25.8x16.5, pp. 2-80.

ALLE LANDE. / Afskrivning af Stemmer forbudt

On p. 55 score for No. 293; on pp. 56-57 score for

ifølge Loven.” At bottom left corner “Nr / II”, “13”No. 294.

added in pencil at “Nr”, stamped “DET KGL. BIBLIOTEK 6-9-1916”.

PR 53

Pl. No.: 13899 (1906).

[No. 295 Blomsterstøv fra Blomsterbæger, No. 296 Nu

26.7x17.1 cm.

er for stakket Tid forbi]
1a,b,c,dPrinted score (SATB).

PR 55

Title page: “TO / SKOLESANGE / AF / VIGGO STUCKEN-[No. 300 Fædrelandssang (Du danske Mand! af al din

BERG / SAT I MUSIK / AF / CARL NIELSEN / 1929 /Magt)]

BIRKERØD STATSSKOLE”.

Printed parts (SATB).

30.8x23.8 cm, pp. 2-3.

Pl. Nos.: 13899a, -b, -c, -d (1906).
27x17.1 cm.

1

PR 54

2

[No. 297 Afﬂictus sum, No. 298 Dominus regit me,

PR 55

No. 299 Benedictus Dominus][No. 300 Fædrelandssang (Du danske Mand! af al din

Printed score (ATTB, SATB, SSATB).

Magt)]

Title page: “CARL NIELSEN / TRE / MOTETTER / FOR

Printed score (SATB).

/ A-CAPPELLA / KOR / OP.55. / TILEGNET / MOGENS

Title page: “31 / SANGE / TIL BRUG FOR / ‘DE SAMVIR-WÖLDIKE / OG / PALESTRINA KORET / Forlæggerens

KENDE CENTRALSANGFORENINGER FOR / BLANDET

Ejendom for alle Lande / Eigentum des Verlegers für

KOR I DANMARK.’ / SAMLEDE AF / FR. B. MØLLER OG

alle Länder / SKANDINAVISK OG BORUPS MUSIKFOR-HINDSE NIELSEN. / 2. SAMLING. / 1909. / TRYKT I WIL-

LAG / Bredgade 31 KØBENHAVN K / III Net”.

HELM HANSENS NODETRYKKERI. / KJØBENHAVN.”

Pl. No.: 4 (1931).

Reprint of PR 55 .

27.2.x18.9 cm, pp. 2-22.

26.4x16.8 cm, pp. 1-52.

On p. 2 Latin, German and Danish texts.

On p. 2 score for No. 300.

1

2

3

PR 54

PR 55

[No. 297 Afﬂictus sum, No. 298 Dominus regit me,[No. 300 Fædrelandssang (Du danske Mand! af al din

No. 299 Benedictus Dominus]

Magt)]

Printed score (ATTB, SATB, SSATTB).

Printed score (SATB).

1As PR 54 , on front cover label added with text

Title page: “32 / SANGE / TIL BRUG FOR / ‘DE SAMVIR-“RUNG-KELLERS / MUSIKALIER / C 116.”

KENDE CENTRALSANGFORENINGER FOR BLANDET
KOR I DANMARK.’ / SAMLEDE AF / FR. B. MØLLER OG

1

PR 55

HINDSE NIELSEN. / 3. SAMLING. / 1911. / TRYKT I WIL-

[No. 300 Fædrelandssang (Du danske Mand! af al din

HELM HANSENS NODETRYKKERI. / KJØBENHAVN.”

Magt)]

Reprint of PR 55 .

Printed score (SATB).

25.8x16.5 cm, pp. 3-62.

Title page: “WILHELM HANSEN / EDITION/ KOR-BIBLI-

On p. 4 score for No. 300.

1Carl Nielsen Udgaven CN 00051

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PR 554

PR 56

1[No. 300 Fædrelandssang (Du danske Mand! af al din[No. 306 Sangen til Danmark (Som en rejselysten Flaade)]Magt)]

Printed score (SATB).

Printed score (SATB).

Title page: “WILHELM HANSEN / EDITION / KOR-BIBLI-

Title page: “30 / SANGE / TIL BRUG FOR / DANSK KOR-OTHEK / BLANDET KOR / (Sopran, Alt Tenor og Bas). / […]FORENING / FÆLLESORGANISATION FOR BLANDET/ FORLÆGGERENS EJENDOM FOR ALLE LANDE / KØBEN-KOR I DANMARKS BYER. / 1. SAMLING. / 1912. / WIL-

HAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG

HELM HANSENS NODETRYKKERI. / KJØBENHAVN.”/ Afskrivning af Stemmer forbudt ifølge Loven.” At bot-3

25.5x16.5 cm, pp. 3-47, bound with PR 55 . Reprint of1

tom left corner “Nr / II”, “128” added in pencil.

PR 55 .

Pl. No.: 17690 (1921).

On p. 11 score for No. 300.

27.2x17.2 cm.

PR 55

5

2

PR 56

[No. 300 Fædrelandssang (Du danske Mand! af al din[No. 306 Sangen til Danmark (Som en rejselysten Flaade)]Magt)]

Printed score (SATB).

Printed score (SATB).

Title on cover: “Danske Folkekor / Landssangstævne

Title page: “33 SANGE / TIL BRUG FOR / ‘DE SAMVIRK-i København / 1923 / Trykt i Wilhelm Hansens Node-

ENDE CENTRALSANGFORENINGER FOR BLANDET

trykkeri, København”.

KOR I DANMARK.’ / SAMLEDE AF / M. OTTOSEN OG

Reprint of PR 56 , without pl. No.

HINDSE NIELSEN. / 4. SAMLING. / 1913. / TRYKT I WIL-

26.4x16.7 cm, pp. 3-16.

HELM HANSENS NODETRYKKERI. / KJØBENHAVN.

On p. 13 score for No. 306.

12

Reprint of PR 55 .
3

26.5x16.7 cm, pp. 3-61.

PR 56

On p. 6 score for No. 300.

[No. 306 Sangen til Danmark (Som en rejselysten Flaade)]
Printed score (SATB).

PR 55

6

Title on cover: “Sange / for / Danske Folkekor / Fynske[No. 300 Fædrelandssang (Du danske Mand! af al din

Afdeling / ved / Sangstævnet i Faaborg / 1924 / Trykt iMagt)]

Wilhelm Hansens Nodetrykkeri, København”.

Printed score (SATB).

Reprint of PR 56 , without pl. No.

Title on cover: “Tilhører Dansk Korforening / DANSK

26.1x16.7 cm, pp. 2-26.

KORFORENING / DK / Landssangstævnet / København

On p. 16 score for No. 306.

1

/ 1924”.
4

Title page: “LANDSSANGSTÆVNET / KØBENHAVN / 1924 /,PR 56[…] FORLÆGGERENS EJENDOM FOR ALLE LANDE / KØBEN-[No. 306 Sangen til Danmark (Som en rejselysten

HAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG /Flaade)]KRISTIANIA & BERGEN / NORSK MUSIK-FORLAG / GÖTE-

Litographic printed score (SATB).

BORG – STOCKHOLM – MALMÖ / A. B. NORDISKA MUSIK-

Title on cover: “Dansk Korforening. / Nordre jydske

FÖRLAGET”.

Kreds. / Sangstævnet i Hobro / 1926. / CHR. OLSEN,
1

Reprint of PR 55 .

AARHUS”.

26.3x17 cm, pp. 2-13.

26.6x17.2 cm, pp. 1-8.

On p. 5 score for No. 300.

On p. 5 score for No. 306.

Carl Nielsen Udgaven CN 00051

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PR 565kors Jubilæumshefte / 1928 Wilhelm Hansen,[No. 306 Sangen til Danmark (Som en rejselysten

Musik-Forlag / København”.

Flaade), No. 309 Hjemvee (Underlige Aftenlufte!)]26.4x16.8 cm, pp. 4-59.

Printed score (SATB), dyeline print.

On p. 30 score for No. 308, reprint of PR 58 without

Title on cover: “13 / ﬂerstemmige Sange / for / Sopran,

pl. no; on p. 31 score for No. 312, reprint of PR 62

Alt, Tenor og Bas. / 1928-29 / CHR. OLSEN. AARHUS”.

without pl. no.; on pp. 32-33 score for No. 309, re-27x17.5 cm, pp. 1-16.

print of PR 59 without pl. no.

1

1

1

On p. 8 score for No. 306 in G major; on pp. 4-5 score
1

PR 59

for No. 309.

[No. 309 Hjemvee (Underlige Aftenlufte!)]
PR 57

Printed score (SATB).

[No. 307 Der er et yndigt Land]

Title page: “WILHELM HANSEN / EDITION/ KOR-

Printed score (SATTB).

BIBLIOTHEK / BLANDET KOR / (SOPRAN, ALT, TENOR

Title page: “Dansk Korforenings Bibliothek No. 16 / DER ER

OG BAS). / […] / FORLÆGGERENS EJENDOM FOR ALLEET / YNDIGT LAND / FOR / FEMSTEMMIGT BLANDET KOR /LANDE / KØBENHAVN & LEIPZIG / WILHELM HANSEN,(Sopran - Alt - Tenor I - Tenor II og Bas) / AF / CARL NIELSEN /MUSIK-FORLAG / Afskrivning af Stemmer forbudtFORLÆGGERENS EJENDOM FOR ALLE LANDE / KØBEN-ifølge Loven / Nr. 156 / II”.

HAVN & LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG

Pl. No.: 18627 (1924).

/ KRISTIANIA & BERGEN / NORSK MUSIK-FORLAG /26.7x17.2 cm.

GÖTEBORG – STOCKHOLM – MALMÖ / A.B. NORD2ISKA MUSIKFÖRLAGET / Copyright 1924 by Wilhelm

PR 59

Hansen, Copenhagen”.

[No. 309 Hjemvee (Underlige Aftenlufte!)]Pl. No.: 18474 (1924).

Printed score (SATB).

26.4x17.3 cm, pp. 2-3.

Title page: “Nordvestsjællandske / Folkekor /2 S a n g e / for / Blandet Kor / 1. Bröllups-marsch

1

PR 58

ur ‘Ett bondbröllop’. / Tekst af Richard Gustafsson. /[No. 308 Der er et yndigt Land]

Musik af Aug. Söderman. - - / 2. Hjemvee (Underlige

Printed score (SATB).

Aftenlufte). / Digt af Adam Oehlenschläger. - - - / Arr.

Title page: “WILHELM HANSEN / EDITION/ KOR-BIB-

for blandet Kor af Carl Nielsen.”

LIOTHEK / BLANDET KOR / (SOPRAN, ALT, TENOR

Reprint of PR 59 without pl. no.

OG BAS) / […] / FORLÆGGERENS EJENDOM FOR ALLE

26.2x16.9 cm, pp. 2-7.

LANDE / KØBENHAVN & LEIPZIG / WILHELM HANSEN,

On pp. 6-7 score for No. 309.

1

MUSIK-FORLAG / Afskrivning af Stemmer forbudt
3

ifølge Loven / Nr. 153 / II”.

PR 59

Pl. No.: 18477 (1924).

[No. 309 Hjemvee (Underlige Aftenlufte!)]26.6x17.2 cm.

Printed score (SATB).
➤ PR 56 .
5

2

PR 58

4

[No. 308 Der er et yndigt Land, No. 309 Hjemvee (Under-

PR 59

lige Aftenlufte!), No. 312 Udrundne er de gamle Dage][No. 309 Hjemvee (Underlige Aftenlufte!)]Printed score (SATB).

Printed score (SATB).

Title page: “Danske Folkekor / Sjællandske Folke-➤ PR 58 .

Carl Nielsen Udgaven CN 00051

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PR 595

PR 60

4[No. 309 Hjemvee (Underlige Aftenlufte!), No. 310 Jeg[No. 310 Jeg bærer med Smil min Byrde]bærer med Smil min Byrde]

Printed score (SATB).

Printed score (SATB).

➤ PR 59 .
5

Title page: “DANSKE / FOLKEKOR / SANGHEFTE / VED
5/ M. OTTOSEN”.

PR 60

Pl. No.: D.K. 1096 (1929).

[No. 310 Jeg bærer med Smil min Byrde]
Printed score (SATB), dyeline print.

26.6x17.6 cm, pp. 1-100.
1

On pp. 44-45 score for No. 309, reprint of PR 59

Title on cover: “Nordre jydske Kreds. / SANGSTÆVNET

without pl. No.; on p. 46 score for No. 310, reprint of/ 1931”.

1

PR 60 without pl. no.

29x17.6 cm, 4 pages.
On p. 3 score for No. 310.

1

PR 60

6

[No. 310 Jeg bærer med Smil min Byrde]

PR 60

Printed score (SATB).

[No. 310 Jeg bærer med Smil min Byrde]

Title page: “WILHELM HANSEN / EDITION/ KOR-

Printed score (SATB), dyeline print.

BIBLIOTHEK / BLANDET KOR / (SOPRAN, ALT, TENOR

Title on cover: “10 ﬂerstemmige Sange / for / Sopran,

OG BAS) / […] / FORLÆGGERENS EJENDOM FOR ALLE

Alt, Tenor og Bas. / 1931-32 / CHR. OLSEN, AARHUS”.

LANDE / KØBENHAVN & LEIPZIG / WILHELM HANSEN,

26.7x17.1 cm, pp. 1-16.

MUSIK-FORLAG / Afskrivning af Stemmer forbudt

On p. 3 score for No. 310.

ifølge Loven / Nr. 157 / II”.
Pl. No.: 18628 (1924).

PR 61

26.9x17.2 cm.

[No. 311 Sjølunds Sangere (Paa Sjølunds fagre, sommerskønne Ø)]

2

PR 60

Printed score (SATTB), dyeline print.

[No. 310 Jeg bærer med Smil min Byrde]

Title page: “SJØLUNDs / SANGERE / EFTERTRYK-

Printed score (SATB).

FORBUDT.”

Title page: “2 Sange / for / Sydsjællandske / Folkekor

26x17.2 cm.

/ 1924”.
1

1

Reprint of PR 60 without pl. No.

PR 62

27x17.3 cm.

[No. 312 Udrundne er de gamle Dage]
Printed score (SATB).

PR 60

3

Title page: “WILHELM HANSEN / EDITION / KOR-

[No. 310 Jeg bærer med Smil min Byrde]

BIBLIOTHEK / BLANDET KOR / (SOPRAN, ALT, TENOR

Printed score (SATB), dyeline print.

OG BAS). / […] / FORLÆGGERENS EJENDOM FOR ALLE

Title on cover: “15 / ﬂerstemmige Sange / for /LANDE / * FORLÆGGERENS EJENDOM FOR SKANDINA-

Sopran, Alt, Tenor og Bas. / 1925-26. / CHR. OLSEN,

VIEN / KØBENHAVN & LEIPZIG / WILHELM HANSEN,AARHUS”.

MUSIK-FORLAG / Afskrivning af Stemmer forbudt

26.1x17.6 cm, pp. 1-16.

ifølge Loven / Nr. 167 / II”.

On pp. 13-14 score for No. 310.

Pl. No.: 18874 (1925).
26.7x17.2 cm.

Carl Nielsen Udgaven CN 00051

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PR 622

PR 651[No. 312 Udrundne er de gamle Dage][No. 320 Fædrelandssang (Du danske Mand! af al din

Printed score (SATB).

Magt)]➤ PR 58 .

Printed score and parts (TTBB), ﬁrst edition.

2

Title page: “WILHELM HANSEN / EDITION / KOR-BIBLI1PR 63

OTHEK / MANDSSTEMMER / (Tenor 1, 2, Bas, 1, 2). /[No. 313 Vaaren – Vaaren er i Brudd!][…] / KJØBENHAVN & LEIPZIG. / WILHELM HANSEN,

DK-Kk, Småtryk. Vokalmusik. M-O.

MUSIK-FORLAG. / FORLÆGGERENS EJENDOM FOR

Litographic printed score (SATB).

ALLE LANDE. /Afskrivning af Stemmer forbudt ifølge

Title on music page: “Foraars Sang”.

Loven./ II”.

27x17 cm, 1 folio.

Pl. No.: 13898, 13898a, -b, -c, -d (1906).

Score for No. 313 (manuscript copy), 2 stanzas in

26.8x17.3 cm.

Latin below ﬁnal system.
2

PR 65
2

PR 63

[No. 320 Fædrelandssang (Du danske Mand! af al din[No. 313 Vaaren – Vaaren er i Brudd!]Magt)]

Printed score (SATB).

Printed score (TTBB).

Title page: “AARHUSIANERBLADET / AROSIA / Med-

Title page: “FLERSTEMMIGE SANGE / TIL BRUG FOR /lemsblad for Aarhusianer-Samfundet. / 7. AARG. / 15.

DANMARKS MANDS-SANGFORENINGER. / UDGIVNEDECEMBER 1928 / NR. 6”.

AF / CENTRALBESTYRELSERNE FOR DE KJØBENHAVN-

On p. 96 score for No. 313; included in the article

SKE, / JYDSKE OG FYNSKE SANGFORENINGER. / HÆF-“Melodierne til Carmen vernale” by Emanuel Sejr,

TE IV. / PARTITUR / KJØBENHAVN. / WILHELM HAN-

including 3 stanzas in Latin, and in Danish in Mari-

SEN, MUSIK-FORLAG. / Mangfoldiggjørelse af dettenus Børup’s translation.

Hæftes Indhold – herunder indbefattet Afskrivning– / er forbudt ifølge Eftertryksloven. / Forlæggeren.”
1

PR 64

Pl. No.: 13898 (1906), reprint of PR 65 .

[No. 319 Kom blankeste Sol!]25.7x17 cm.

Printed score (TTBB), ﬁrst edition.

The book consists of a collection of songs for male

Title page: “25 / FIRSTEMMIGE SANGE / FOR / MANDS-

choir published in Wilhelm Hansen’s Choir Library.

STEMMER / UDGIVNE / AF / POUL HELLMUTH. / FORLÆGGERENS EJENDOM FOR ALLE LANDE / KJØBEN-PR 66

HAVN & LEIPZIG. / WILHELM HANSEN, MUSIK-FOR-[No. 321 Aftenstemning (Alt Skoven sig fordunkler)]

LAG. / Trykt i Wilhelm Hansens Etabl. Kjøbenhavn.”

Printed score and parts (TTBB).

Pl. No.: 13751 (1906).

Title page: “WILHELM HANSEN / EDITION / KOR-BIBLI-

24x16 cm, pp. 1-38.

OTHEK / MANDSSTEMMER / (TENOR 1, 2, BAS, 1, 2).

On p. 7 score for No. 319, title on music page: “Kom/ […] / KJØBENHAVN & LEIPZIG. / WILHELM HANSEN,

blankeste Sol! / Sang til Kolding Latinskoles Majfest.

MUSIK-FORLAG. / FORLÆGGERENS EJENDOM FOR(Teksten fra 22 Maj.1750.)”, on verso of title page

ALLE LANDE. /Afskrivning af Stemmer forbudt ifølge

printed “En * ved Komponistens Navn angiver, at den

Loven. / II”.

paagældende Sang er ny harmoniseret eller arrange-

Pl. No.: 14328 (1908).

161

ret for ﬁre Mandsstemmer af Udgiveren.”

26.7x17.2 cm, pp. 2-3.

161 “An * at the composer’s name indicates that thesong in question has been newly harmonised or
arranged by the editor for four male voices.”

Carl Nielsen Udgaven CN 00051

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PR 67

Title on ﬁrst music page: “Fredlys din Jord, du danske[No. 323 De unges Sang (Vi ﬁk ej under Tidernes

Mand!”; on pp. 3-4 Tobias Haslinger, “Kyrie eleison”.

Tryk)]
Printed score and parts (TTBB).

PR 71

Title page: “WILHELM HANSEN / EDITION / KOR-BIBLI-[No. 329 Der er et yndigt Land]OTHEK / MANDSSTEMMER / (Tenor 1, 2, Bas, 1, 2). /Printed score (TTBB).

[…] / KJØBENHAVN & LEIPZIG. / WILHELM HANSEN,

Title page: “WILHELM HANSEN / EDITION / KOR-BIBLI-MUSIK-FORLAG. / FORLÆGGERENS EJENDOM FOROTHEK / MANDSSTEMMER / (Tenor 1, 2, Bas, 1, 2). /ALLE LANDE. /Afskrivning af Stemmer forbudt ifølge[…] / FORLÆGGERENS EJENDOM FOR ALLE LANDE. /Loven. / II”.

KJØBENHAVN & LEIPZIG. / WILHELM HANSEN MUSIK-

Pl. No.: 14536 (1909).

FORLAG. / Afskrivning af Stemmer forbudt ifølge

27x17.4 cm.

Loven./ II”.
Pl. No.: 18476 (1924).

PR 68

27.2x17.2 cm.

[No. 324 Paaske-Liljen (Paaskeblomst! En Draabestærk)]

PR 72

Printed score and parts (TTBB).

[No. 332 Kvadet om Nordens Harpe (Nordens herlige

Title page: “WILHELM HANSEN / EDITION / KOR-BIBLI-Harpe!)]OTHEK / MANDSSTEMMER / (Tenor 1, 2, Bas, 1, 2). /Litographic printed score (TTBB).

[…] / KJØBENHAVN & LEIPZIG. / WILHELM HANSEN,

DK-Kk, CNS C II, 10, kasse 6.f.1.

MUSIK-FORLAG. / FORLÆGGERENS EJENDOM FOR

28.4x22.2 cm, pp. 2-4.

ALLE LANDE. /Afskrivning af Stemmer forbudt ifølge

Title on ﬁrst page: “Skandinavisk Mandskorstævne /Loven.”

København 29-31 Maj 1931 / i Anledning af Selskabet,

Pl. No.: 14671 (1910).

Herrekoret / ‘Bel Canto’s 25 Aars Jubilæum. / Kvadet

27x17.2 cm, pp. 2-3.

om Nordens Harpe. / Ordene af Aage Berntsen. / Tonerne af / Carl Nielsen.”

PR 69
1

[No. 325 Vi Børn, vi Børn, vi vaagner]

PR 73

Printed score (TTBB).

[No. 333 Dannevang med grønne Bred, No. 334 Der

Title page: “BØRNEHJÆLPSDAGENS SANG / DEN 16.

er et yndigt Land, No. 335 Rosen blusser alt i Danas

MAJ 1911. / TEKST AF / JOHANNES JØRGENSEN. /Have, No. 336 Lad en og anden have Ret, No. 337

MUSIK AF / CARL NIELSEN. / UDGAVE FOR 4 MANDS-

Morgendug, der sagte bæver i den lune Vind, No. 338

STEMMER. / SÆLGES TIL FORDEL FOR BØRNEHJÆLPS-Se dig ud en Sommerdag, No. 339 Du danske Mand,

DAGEN. / 25 Øre. / TRYKT I WILHELM HANSENS

af al din Magt, No. 340 Du gav os de Blomster, som ly-

ETABL., KJØBENHAVN.”

ste imod os, No. 341 Vi elsker vort blomstrende Fædre-Pl. No.: B 1911.

land, No. 342 Som en rejselysten Flaade, No. 343

27.2x17 cm, pp. 2-3.

Kær est du, Fødeland, sødt er dit Navn, No. 344 Der
dukker af Disen min Fædrenejord, No. 345 Underlige

PR 70

Aftenlufte!, No. 346 Den kedsom Vinter gik sin Gang,[No. 326 Fredlys din Jord, du danske Mand!]No. 347 Frydeligt med Jubelkor, No. 348 Grøn er Vaa-

Dyeline printed score (TTBB).

rens Hæk, No. 349 Nu er Dagen fuld af Sang, No. 350

26x17 cm, pp. 2-4, ﬁrst page unpaginated.

I Skyggen vi vanke, No. 351 Nu lyser Løv i Lunde,Carl Nielsen Udgaven CN 00051

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No. 352 O, hvor jeg er glad i Dag!, No. 353 Nu Sol i Øst

Pl. No.: B.867 (1925).

oprinder mild, No. 354 Jeg lægger mig saa trygt til

31x23.7 cm, pp. 1-4.

Ro, No. 355 Tyst som Aa i Engen rinder, No. 356 Sol

On p. 1 score for No. 339 in G major.

er oppe! Skovens Toppe, No. 357 De Snækker mødtes
i Kvæld paa Hav, No. 358 Søndret Folk er vokset sam-PR 74men, No. 359 Udrundne er de gamle Dage, No. 360 Vi[No. 377 Bokserne (Ve’ du sla’ mej), No. 378 Traaden

ﬁk ej under Tidernes Tryk, No. 361 Danmark, i tusindbrister, Rokken staar, No. 379 Vægter jeg beder,

Aar, No. 362 Er din Stue lav og trang, No. 363 Paa det

hold op med i Sang, No. 380 Ikke det altid slaar til,jævne, paa det jævne!, No. 364 Byg paa Sletten, ej paa

No. 381 Du skal le ad Ødelæggelse, No. 382 Stilhed

Tinden, No. 365 Vi fri Folk fra Norden, No. 366 Væl-og Mørke]

dige Riger rives om Jorden, No. 367 Havet omkring

Printed score (SA, SSA, SSAA).

Danmark, No. 368 Naar Somrens Sang er sungen,Title page: “60 danske Kanoner / for 2 til 4 lige Stem-

No. 369 Sov, mit Barn, sov længe, No. 370 Spurven

mer / Til Brug for Skoler og Seminarier / ved / Finnsidder stum bag Kvist, No. 371 Farvel, min velsig-

Høffding / og / Hakon Andersen / KØBENHAVN &nede Fødeby!, No. 372 Ud gaar du nu paa Livets Vej,

LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / OSLO

No. 373 Jeg ved en Lærkerede, No. 374 Solen er saa/ NORSK MUSIKFORLAG / STOCKHOLM / A. B. NORDI-

rød, Mor, No. 375 Den Spillemand spiller paa Strenge,

SKA MUSIKFÖRLAGET”.

No. 376 Naar Smaabørn klynker ved Aftentide]Pl. No.: 21736 (1930).

Printed score (SA, SSA or unison), ﬁrst edition.

19.4x14.5 cm, pp. 3-29.

Title page: “MELODIER / TIL / SANGBOGEN / ‘DAN-

Nos. 377-382 correspond to Nos. 18, 33, 34, 35, 36, 37

MARK’ / SAMLET OG UDGIVET TIL BRUG / FOR SKOLEin PR 74.

OG HJEM / AF / CARL NIELSEN OG HAKON ANDERSEN/ FORLÆGGERENS EJENDOM / KØBENHAVN & LEIPZIG

PR 75/ WILHELM HANSEN, MUSIK-FORLAG / OSLO / NORSK[No. 383 Græshoppen (Græshoppen sidder paa Engen)]

MUSIKFORLAG / STOCKHOLM / A. B. NORDISKA

Printed score (SA).

MUSIKFÖRLAGET”.

Title page: “52 / TOSTEMMIGE SANGE / INDEHOL-

Pl. No.: 18508 (1924).

DENDE 42 ORIGINALE BIDRAG / AF / DANSKE KOMPO-

18.5x13 cm, pp. 1-376.

NISTER. / UDGIVNE AF / J. MIKKELSEN. / NY UDGAVE.

Before p. 1: preface by Carl Nielsen (2 pages) and“Om Stemmens Behandling i Skolen”

162

by Paul/ FORLÆGGERENS EJENDOM. / KJØBENHAVN. / WILHELM HANSEN, MUSIK-FORLAG.”

Bang (6 pages).

Pl. No.: 12322 (1898).

Nos. 333-376 correspond to Nos. 1b, 4b, 6, 12, 13, 21,

22,7x15.2 cm, pp. 4-67, Nos. 1-52.

23, 28, 29, 30, 39, 43, 44, 45, 51, 58b, 59, 64a, 66, 70,

On p. 41 score for No. 383.

89, 107, 125, 134, 161, 180, 183, 186, 189, 191, 193, 195,
200, 210, 212, 219, 222b, 225b, 230, 231, 249, 258, 262,1

264 in PR 73 .

PR 76
[No. 384 Edderkoppens Sang af ‘Aladdin’ (Betragt mit
svage Spind)]

2

PR 73

Printed score and parts (SSA).

[No. 339 Du danske Mand, af al din Magt]

Title page: “Edderkoppens Sang / AF / ‘ALADDIN’ /Printed score (SA).

FOR TRE LIGE STEMMER / AF/ Carl Nielsen. / PARTI-DK-Kk, SmV2 (antologi), Børnehjælpsdagens Sange.

TUR. – STEMMER. / FORLÆGGERENS EJENDOM FOR
ALLE LANDE. / KJØBENHAVN & LEIPZIG. / WILHELM

162 “On the treatment of the voice in the school.”Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 411

411

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HANSEN, MUSIK-FORLAG. / KRISTIANINA, NORSK

Kolding, 1924.

MUSIK-FORLAG. / (BRØDRENE HALS – WARMUTH

22.5x15 cm, pp. 5-79.

– WILHELM HANSEN. / II)”.

On pp. 33, 35 score for No. 385; on pp.14-17 score for

Pl. No.: 14193 (1907/1908).

No. 387.

26.8x17.3 cm, pp. 2-3.
1

PR 78
1

PR 77

[No. 387 Morten Børups Majvise (Frydeligt med[No. 385 Kom blankeste Sol!]

Jubelkor)]

Printed score (SSA).

Printed score (SSA).

Title page: “INDBYDELSESSKRIFT / TIL / AFGANGS- OG

Title page: “INDBYDELSESSKRIFT / TIL / AFGANGS- OG

AARSPRØVEN / 1901 / I KOLDING LATIN- OG REAL-AARSPRØVEN 1906 / i Kolding højere Almenskole. /SKOLE / I. KOLDING LATIN- OG REALSKOLE 1800-1900

Til Forældrene. – I. Forberedelsesundervisning. / II.

/ AF GEORG / BRUUN. II. LIDT OM UNDERVISNING

Mellemskolens 3 første Klasser: – III. Mellemskolens

I MODERSMAALET AF SIGURD MÜLLER. III. KUN-

4de Klasse. / IV. Den højere Almenskoles Sprogunder-

STEN I SKOLEN AF / SAMME. IV. EPI- / GRAMMER AF

visning. / V. Morten Børups Majvise ‘Frydeligt med

HOLBERG, OVERSATTE FRA LATIN AF SAMME. / V.

Jubelkor’, / oversat af Dr. phil. Fr. Moth med Melodi

MAJSANG, KOMPONERET AF CARL NIELSEN. VI SKOLE

af Carl Nielsen. / IV. Skoleefterretninger. / KOLDING // EFTERRETNINGER. / KOLDING / KOLDING AVIS’KONRAD JØRGENSENS BOGTRYKKERI / 1906”.

BOGTRYKKERI / 1901”.

19.5x14.5 cm, pp. 4-78, 4-13.

19.5x14.5 cm, pp. 6-54.

On pp. 36-39 score for No. 387.

On p. 68-69 score for No. 385.
2

PR 78
2

PR 77

[No. 387 Morten Børups Majvise (Frydeligt med[No. 385 Kom blankeste Sol!]

Jubelkor)]

Printed score (SSA).

Printed score (SSA).

Title page: “40 / TRESTEMMIGE SANGE / AF / NORDI-

Title page: “SKOLEBØRNENES / SANGBOG / UDGIVETSKE KOMPONISTER. / FOR LIGE STEMMER: 2 SOPRA-/ AF / C.B. SCHLÆGELBERGER, / Sanglærer ved Kjø-NER OG ALT / ELLER 2 TENORER OG BAS. / TIL BRUG

benhavns Kommuneskole / OG / CARL POULSEN, /FOR / GYMNASIER, HØJSKOLER OG SEMINARIER. /Lærer ved Roskilde Mellemskole / FORLÆGGERENSSAMLEDE OG UDGIVNE / AF / J. MIKKELSEN. / FOR-EJENDOM. / KJØBENHAVN & LEIPZIG. / WILHELM

LÆGGERENS EJENDOM. / KJØBENHAVN. / WILHELM

HANSEN, MUSIK-FORLAG. / TRYKT I WILHELM HAN-

HANSEN, MUSIK-FORLAG.”SENS ETABL., KJØBENHAVN.”

Pl. No.: 14528 (1909).

Pl. No.: 14159a-g (1908).

23x15 cm, pp. 3-61.

18.5x10 cm, pp. 2-131.

On p. 33 score for No. 385.

On pp. 100-101 score for No. 387.

3

3

PR 77

PR 78

[No. 385 Kom blankeste Sol!, No. 387 Morten Børups

[No. 387 Morten Børups Majvise (Frydeligt med

Majvise (Frydeligt med Jubelkor)]

Jubelkor)]

Printed score (SSA).

Printed score (SSA).

Title page: “GEORG BRUUN / Kolding højere Almen-➤ PR 773

skoles / Majfest”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 412

412

22/02/09 8:31:57

PR 79

PR 83[No. 388 Vi Børn, vi Børn, vi vaagner][No. 401 Morgenhanen atter gol, No. 402 Vaaren,

Printed score (SA).

Vaaren er i Brud, No. 403 Grøn er Vaarens Hæk,Dating: “Børnehjælpsdagen 1911.”

No. 404 Ind under Jul, hvor er det trist, No. 405 Nu

14x9 cm, postcard with facsimile of Nielsen’s autograph.

spinder vi for Dittemor, No. 406 Undrer mig paa,
hvad jeg faar at se, No. 407 Spurven sidder stum bag

PR 80

Kvist, No. 408 I kølende Skygger, No. 409 En Sømand

[No. 391 Fædrelandssang (Du danske mand! af al din

med et modigt Bryst No. 410 Den gamle Husmandmagt)]

staar ved Gavl, No. 411 Hver har sit, du har dit,

Printed score (SSA).

No. 412 Jeg kører frem gennem Straalefryd, No. 413

Titlepage: “NORDISKE SANGE / FOR / TRE LIGE STEM-

Dannebrog, vift med din Vinge, No. 414 Jeg er saa

MER / TIL BRUG FOR / SEMINARIER, HØJSKOLER OG

glad i Grunden, No. 415 Den Magt, som gav mig min

SANGFORENINGER, / SAMT DE HØJERE DRENGE- OG

lille Sang, No. 416 Har I nu Tænder i Riven sat]

PIGESKOLER / SAMLEDE OG UDGIVNE / AF / N. K.

Printed songs (unison).

MADSEN-STENSGAARD / HÆFTE I HÆFTE II / FORLÆG-Title page: “Nye Melodier / til / Johan Borups / Dansk

GERENS EJENDOM FOR ALLE LANDE / København &Sangbog / redigeret af / Ad. Riis-Magnussen / Borups

Leipzig / WILHELM HANSEN, MUSIK-FORLAG / Kristia-

Musikforlag / Palægade 2 - - - København”.

nia & Bergen / Norsk Musik-Forlag / Göteborg – Stock-

Pl. No.: B. M. 9979 (1926).

holm – Malmö. / A. B. Nordiska Musikförlaget”.

16.7x10 cm, pp. 7-63, Nos. 1-80.

Pl. No.: 17463 (1920).

Nos. 401-416 correspond to: Nos. 1, 5, 7, 17, 20, 21, 25,

22x15 cm, pp. 3-46, vol. II.

44, 53, 56, 58, 62, 65, 67, 75, 78.

On p. 9 score for No. 391.
1

PR 84
PR 81

[No. 418 Vi frie Folk fra Norden][No. 392 Min Pige er saa lys som Rav]

Printed song (unison).

DK-Kk, SmV2 (antologi), Børnehjælpsdagens Sange.

Title on ﬁrst music page: “Enstemmige Sange til Brug

Printed score (SA).

for / Højskoler, Gymnastik og Skytteforeninger.”;Pl. No.: B. 681 (1921).

at bottom of page: “Forlæggerens Ejendom for alle

28.5x21.5 cm, pp. 1-4.

Lande. / Wilhelm Hansen, Kjøbenhavn & Leipzig”.

On p. 3 score for No. 392.

Pl. No.: 14482 (1909).
27.7x17.4 cm, pp. 1-4.

PR 82

On p. 2 song No. 418. Also includes Fædrelandssang[No. 393 Hymne til Livet (Himmelkraftens Herre)](Du danske mand!), Havets Sang (Havet omkring Dan-

Printed score (SSA).

mark), Jens Vejmand (Hvem sidder der bag Skjærmen).

Title page: “DIE FEUERBESTATTUNG / UND / IHRE
2

KULTURELLE BEDEUTUNG / DER TEMPEL DES FRIEDENS /PR 84

HERAUSGEGEBEN VON GUSTAV SCHLYTER / VERLEGT BEI[No. 418 Vi frie Folk fra Norden]

WILH. HEMP IN LEIPZIG”.

Printed song (unison).

Hälsingborg 1922.

Title page: “METODISK / SANGBOG / EFTER FORMEL-

16.2x12.5 cm, pp. viii-xxii, 2-394.

METODEN / UDARBEJDET AF / K. STEENSEN / SEMINA-

On pp. xviii-xx score; on p. 15 Danish text, on p. 16aRIELÆRER / OG H. FREDERIKSEN / LÆRER I STENSBY

German text (translated by Heinz Hungerland).

VED VORDINGBORG / FJERDE DEL / NODESANG: BLAN-

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 413

413

22/02/09 8:31:57

DEDE TONEHØJDER / NÆRMEST FOR 6. OG 7. SKOLE-

Pl. No.: 17037 (1919).

AAR / KJØBENHAVN OG KRISTIANIA / GYLDENDALSKE

18x10 cm, pp. 3-155, Nos. 1-96.
On p. 114 song No. 421 in E major, text on p. 115.

BOGHANDEL / NORDISK FORLAG / MDCCCCXII”.
20.5x12.5 cm, pp. 3-101.
“København, Forlagstrykkeriet.” (1912).

PR 87

On p. 60 song No. 418.

[No. 422 Vaaren, Vaaren er i Brud!]Printed song (unison).

PR 85

Title page: “AROSIA / MEDLEMSBLAD / FOR / AARHU-[No. 419 Student-Tanker i en Gymnastiksal (Ovne-

SIANER - / SAMFUNDET / Nr. 1. / 1921 /1. Aargang.”krog, Lærebog)]

On ﬁrst page: print of No. 422 (unison) with title

Printed song (unison).

“Aarhus Skoles Sang. Carmen Vernale.”, below title

Title page: “Syng! Marschsange. / Udgivet af N. H.

“Digtet af Morten Borup (Aargang 1480.) – Oversat

Rasmussen / (Gymnastikhuset, Vodrofsvej) / og / Alfred

af Marinus Borup (Aargang 1910).”, text in Latin andNielsen. (Nordisk Musikforlag). / 4. Udgave. / Køben-Danish below staff; below ﬁnal staff “Oversættelser:

havn. / 1911.”1)

11.7x7 cm, upagineret. Songs Nos. 1-66.

2)kommer med sin Ynde’); Vilh. Andersen (‘Naar den

No. 419 corresponds to No. 66.

første Foraarsdag / frydefuldt, med Carl Nielsens Me-

Reprinted in a ﬁfth, sixth and a seventh edition.

4)lodi, til Kolding Skole); Marinus Borup (1910).”1

H. Blache (1806) (‘Naar den skønne Foraarsdag

PR 86

PR 88

[No. 421 Og jeg vil drage fra Sydens Blommer][No. 11 Æbleblomst (Du ﬁne, hvide Æbleblomst!),Printed song (unison).

No. 22 Jens Vejmand (Hvem sidder der bag Skjær-Title page: “Nye Melodier / til / de nyere Sangtekster /men), No. 23 Sænk kun dit Hoved, du Blomst, No.

si / Johan Borups / Dansk Sangbog / redigeret / af / Carl

36 Gamle Anders Røgters Sang (Der staar en Purle),

Nielsen / FORLÆGGERENS EJENDOM / KJØBENHAVN

No. 37 Kommer I snart, I Husmænd! (Raabet stiger i& LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG”.

Morg’nens Skær), No. 224 Fædrelandssang (Du dan-Pl. No.: 16343 (1915, 1916).

ske Mand af al din Magt), No. 233 Fredlys din Jord,

18x10 cm, pp. 2-86, Nos. 1-54.

Du danske Mand]

No. 421 corresponds to No. 42.

Printed score (voice, pf.)

Includes also: Nos. 25, 31, 32, 36, 88, 97, 98, 106, 107,

Title page (vol. 1): “MUSIK FOR ALLE. / FORLÆGGER-

108, 167, 168, 176, 418.

ENS EJENDOM. / KJØBENHAVN & LEIPZIG. / WILHELM
HANSEN, MUSIK-FORLAG. / KJØBENHAVN. / NORDISK

2

PR 86

MUSIK-FORLAG. / KRISTIANIA. / NORSK MUSIK-[No. 421 Og jeg vil drage fra Sydens Blommer]

FORLAG. (BRØDRENE HALS-WARMUTH-WILHELM

Printed song (unison).

HANSEN.)”

Title page: “Viser og Sange / samlet af / Erik Spur / 1919

33.5x26 cm/ Omslagstegning af / Joakim Skovgaard / FORLÆG-Vol. 1 (1915-16), pp. 126-127 score for No. 224, Vol. 4

GERENS EJENDOM FOR ALLE LANDE / KØBENHAVN &(1916), pp. 112-115 score for No. 22, Vol. 5 (1916-1917),

LEIPZIG / WILHELM HANSEN, MUSIK-FORLAG / KRISTI-

pp. 106-110 score for No. 36, 37, Vol. 6 (1917-1918),

ANIA & BERGEN / NORSK MUSIK-FORLAG BRØDRENE

pp. 126-127 score for No. 233, Vol. 10 (1920-1921), pp.

HALS – WARMUTH – WILHELM HANSEN / STOCKHOLM

104-106 score for No. 11 , Vol. 15 (1924-1925), pp. 72-73& GÖTEBORG / A. B. NORDISKA MUSIKFÖRLAGET”.

score for No. 23.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 414

414

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E D I T O R I A L E M E N D A T I O N S A N D A L T E R N A T I V E R E A D I N G S

4 and 6 with texts translated into German (PR 14),which appeared in 1895, has not been relevant as
all corrections have been transferred to A. The texts
have been collated with J.P. Jacobsen’s Digte og Udkast.

In the Critical Commentary the following conventions are used:1

Solnedgang (“Svømmende Skyer, dejlige Cyklader”)
voice, pf.

1“by analogy with” is used when something has

Text: J.P. Jacobsen

been “added”, “emended” or “omitted” by anal-

Dating: [1892]

ogy with another passage in the main source.
The analogy may be vertical. When something

Sourcesis added “by analogy with” one or more instru-

A

Print, corrected edition (PR 12)

ments, it is understood that the analogy is withB

Print, ﬁrst edition (PR 11)

the same place in the same bar(s). Or it may beCPrint (PR 13)

horizontal. When something is added “by anal-

D

Score, manuscript copy (MS Ext. 1)

ogy with” one or more bars, it is understood thatE

Score, manuscript copy (MS 33 2245)

the analogy is with a parallel place in the sameF2

Printed text, J.P. Jacobsen, Digte og Udkast, Copenhagen 1886

instrument(s).
“as in” is used when something is “added”,“emended” or “omitted” to correspond to the

Bar
4
4

Part
pf.1
pf.2

5

voice

5
5

voice
pf.

5
6

pf.1
pf.1

6-7
7
8
8

pf.2
pf.
voice
pf.2

9
10
10-11

pf.
pf.
pf.1

10-13

pf.2

12
12-13

pf.1
pf.2

same place in another source.
3“in accordance with” is used in cases where
there is no authoritative source, only a guideline– for example printed part material.

In the bar number column, the symbol “+” is used toindicate an upbeat to the bar in question.

M U S I K
J . P.

T I L

F E M

J A C O B S E N ,D I G T E
O P.

A F

4

Neither fair copy nor printing manuscript has apparently survived. The drafts and sketches are often so
imperfect that they are not relevant for the editing,and the manuscript copies frequently contain a large
number of variants. On the other hand, the ﬁrst edition of 1892 (B) was revised in connection with later
impressions; hence the impression of 1920 (A), which
was the last one to appear during the composer’s
lifetime, has been elected as copy text for the present
edition. The edition with selected songs of both op.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 415

Comment
D: upper part notes 1-3: slur
D: third and fourth crotchet upper
part:  (a)Lyshavets Bryst emended to Lufthavets Bryst in accordance with C, E
D: notes 1-3:
;
D: ﬁrst to third crotchet:instead of cresc. in the following bar
slurs added
second crotchet note 2: e ''
emended to e '' in accordance withﬁrst beat; C: chord 2 note 1: f '' ;chord 4 note 2: d'''D: upper part: absent
D: ﬁrst to third crotchet:note 4:  emended to 
note 2:  emended to  ; note 3: E emended to E ; D: third to fourth
crotchet: rhythm changed to in pencil
D: ﬁrst to third crotchet:
D: ﬁrst crotchet:
D: rest 1 to chord 3, rest 2 to chord
6: slurb.10 chord 1 to b.13 chord 1:
incomplete slur emended; C: b.10
chord 1 to b.13 chord 1: only thelowest bass note is notated
D: rest 1 to chord 3: slurb.12 chord 2 note 1 to b.13 chord 1
note 1: incomplete tie emended



415

22/02/09 8:31:58

13
14
14-15

pf.2
pf.1
pf.2

15
18
18-19

pf.2
pf.
pf.

2

D: note 1 to chord 1: slur
slurs added
D: slur incomplete; change of staff
between bb.14-15
D: chord 1: A' , A
D: third crotchet: dim:
D: b.18 chord 5 to b.19 chord 1:
slurs

Draft/sketch, incomplete (MS 33 2222)

D

Printed text, J.P. Jacobsen, Digte og Udkast, Copenhagen 1886

Bar
12

Part
voice

Commentsvær emended to svar in accordance with D and by analogy withrhyme in b.16 (klar)

I Seraillets Have (“Rosen sænker sit Hoved tungt af
4

Dug og Duft”)

Irmelin Rose (“Se, der var en Gang en Konge”)

voice, pf.

voice, pf.

Text: J.P. Jacobsen

Text: J.P. Jacobsen

Dating: [1892]

Dating: [1892]
Sources

SourcesA

C

2

Print, corrected edition (PR 1 )APrint, corrected edition (PR 12)
Print, ﬁrst edition (PR 11)
Sketch (MS 33 2139)

Print, ﬁrst edition (PR 1 )BC

Draft (MS 33 2139)

C

D

Print, German edition (PR 14)

D

Sketch (MS 33 2094)

E

Printed text, J.P. Jacobsen, Digte og Udkast, Copen-E

Print, German edition (PR 14)

hagen 1886

F

B

1

Printed text, J.P. Jacobsen, Digte og Udkast, Copenhagen 1886

Bar
5
17

Part
pf.2
pf.

Comment
upper part note 2: added
and molto emended to

18

pf.1

sixth quaver: stacc. added by analogy with bb. 15-17, 19 third andsixth quavers and by analogy withb.18 third quaver
b.18 sixth quaver to b.19 ﬁrst
quaver: incomplete tie emended
fourth quaver: marc. added byanalogy with ﬁrst quaver and byanalogy with b.18
seventh to twelfth semiquaver: slur
omitted because of slur bb.20-23
E: jævnt afsted
B: notes 1-4: A-a-e-a

18-19

pf.2

19

pf.1

20

pf.1

21
22

voice
pf.2

3

Bar
6

Part
pf.2

9

pf.1

13
15-16

voice
pf.2

16

pf.

18

pf.2

20
20

pf.1
pf.2

21-22

pf.1

21

pf.2

Til Asali (“Før drømte jeg fast hver eneste Nat”)
voice, pf.
Text: J.P. Jacobsen
Dating: [1892]

SourcesA
B

Print, corrected edition (PR 12)
1

Print, ﬁrst edition (PR 1 )Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 416

Comment
fourth crotchet: stacc. added byanalogy with pf.1 and in accordance with E
chord 1: stacc. added by analogy
with b.5; chord 3: marc. added byanalogy with b.5
F: alt hvad der var
b.15 chord 2 to b.16 chord 1: slur
added by analogy with bb.29-30,
43-44, 57-58
notes 1-2: stacc. added by analogy
with b.30
chord 2: marc. added by analogy
with pf.1
lower part note 1:  emended tonote 1:  emended to  by analogy
with b.6; fourth crotchet: marc.
added by analogy with b.21 second
crotchet and b.22 second crotchetb.21 fourth to sixth quaver, b.21
ninth quaver to b.22 ﬁrst quaver,b.22 fourth quaver to sixth quaver:slur added by analogy with b.20
eighth quaver to b.21 ﬁrst quaver
fourth crotchet: marc. added byanalogy with b.21 second crotchetand b.22 second crotchet

416

22/02/09 8:31:58

25

pf.

27
34

voice
voice

37
44

pf.2
pf.1

49

pf.1

51

pf.1

57

pf.1

 emended from second crotchetby analogy with bb.11, 39, 53
F: alt hvad der var
før emended to fór in accordancewith F and by analogy with rhyme
in b.38 (Ord)lower part eighth quaver: added
notes 2-3: stacc. added by analogy
with b.30
third crotchet:  emended tobyanalogy with bb.50, 51
chord 1: stacc. added by analogy
with b.50
eighth quaver: g' emended to g ' byanalogy with bb.15, 29, 43

V I S E R
J . P.

O G

V E R SJ A C O B S E N ,

A F
O P.

6

Neither fair copy nor printing manuscript has apparently survived. The drafts and sketches are often so
imperfect that they are not relevant for the editing.
On the other hand, the ﬁrst edition of 1893 (B) was
revised in connection with later impressions; hence
the impression of 1923 (A), which was the last one
to appear during the composer’s lifetime, has been
elected as copy text for the present edition. The edition with selected songs of both op. 4 and 6 withtexts translated into German (PR 14), which appeared5

Har Dagen sanket al sin Sorg (“Har Dagen sanket al

in 1895, has not been relevant for the editing as all

sin Sorg”)

corrections have been transferred to A. The texts

voice, pf.

have been collated with J.P. Jacobsen’s Digte og Udkast.

Text: J.P. Jacobsen
Dating: [1892]

6

Genrebillede (“Pagen højt paa Taarnet sad”)
voice, pf.

Sources

Text: J.P. Jacobsen

A

Print, corrected edition (PR 12)

B

Print, ﬁrst edition (PR 11)

Dating: [1893]

C

Draft (MS 33 2094)

D

Print, German edition (PR 14)

A

Print, corrected edition (PR 24)

E

Printed text, J.P. Jacobsen, Digte og Udkast, Copen-

B

Print, ﬁrst edition (PR 21)

hagen 1886

C

Partly sketch and draft (MS 33 2083)

D

Print, German edition (PR 14)

Bar
5-6

Part
pf.1

8-9

pf.2

12-13

pf.2

17

pf.

25-26

pf.2

33

pf.1

35
42
44-45

pf.2
pf.1
pf.2

SourcesComment
b.5 chord 2 note 2 to b.6 chord 1
note 2: tie added in accordancewith slurb.8 chord 2 to b.9 chord 1: slur
added by analogy with bb.7-8, 9-10
b.12 chord 1 to b.13 chord 1:
incomplete slur emended
and dim. emended tob.25 chord 1 to b.26 chord 1:
incomplete slur emended
lower part notes 1-2, 3-4, 7-8: slurs
added by analogy with notes 1-2
and by analogy with b.34
chords 2-3: tie added
B: sixth crotchet: stacc.
lower part b.44 third quaver tob.45 ﬁrst quaver: slur added byanalogy with bb.43-44, 45-46

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 417

EPrinted text, J.P. Jacobsen, Digte og Udkast, Copenhagen 1886

Bar
12
14

Part
voice
pf.1

14

pf.2

16

pf.1

16

pf.2

17

pf.2

17-18

pf.2

18

pf.2

Comment
B: faa det sam-led
note 1: d' emended to d ' by analogy with voice and by analogy b.13
B: chords 2-4: slur incomplete,suggesting slur to b.15 note 1
upper part note 3: marc. added byanalogy with pf.2 lower part
upper part note 7: beginning ofslur emended to note 1 by analogy
with b.18
lower part note 2: marc. added byanalogy with pf.1 upper partb.17 note 2 to b.18 note 1: beginning of tie added; B: incompletetie because of page turnextra
omitted417

22/02/09 8:31:58

21

pf.2

22

pf.1

23

pf.1

24

pf.2

27

pf.1

27-29

voice

27-32

pf.

29

voice

lower part note 2: marc. added byanalogy with pf.1 upper part
top part note 1: marc. removed
in accordance with tie; B: ﬁfth
crotchet:
chord 2 note 1: g ' emended to g 'by analogy with voicenotes 9, 12:  added by analogy
with pf.1
chord 3: ten. added by analogy
with pf.2 upper part and by analogy with bb.25-26
B:
incomplete; A, B, D:
change of system
incomplete
andemended to one; A:
b.27 sixth quaver: beginning of; b.28: no continuation of(change of system); bb.2932:
dim. moved from above pf. top staff

SourcesA

Print, corrected edition (PR 24)

B

Print, ﬁrst edition (PR 21)

C

Print, German edition (PR 14)

D

Manuscript copy (MS 32 3026)

E

Sketches and drafts (MS 33 2086)

F

Printed text, J.P. Jacobsen, Digte og Udkast, Copenhagen 1886

Bar
6

16, 17,18, 19 pf.1
42, 43,
44
pf.2

9
7

Part
voice

Comment
fæst! emended to fæst’! by analogy
with b.10 and in accordance with F
B: note 4: c''upper part note 2: stacc. added byanalogy with lower partDet bødes der for (“Det bødes der for i lange Aar”)

Seraferne (“Seraferne har rullet bort”)

voice, pf.

voice, pf.

Text: J.P. Jacobsen

Text: J.P. Jacobsen

Dating: [1893]

Dating: [1893]
SourcesA

SourcesA

Print, corrected edition (PR 24)

B

Print, ﬁrst edition (PR 21)
Print, German edition (PR 14)
Printed text, J.P. Jacobsen, Digte og Udkast, Copen-

B

Print, ﬁrst edition (PR 2 )CCDraft, incomplete (MS 33 2196)

D

D

Printed text, J.P. Jacobsen, Digte og Udkast, Copen-1

hagen 1886
Bar
1
4
6
9-11

Part
voice
voice
voice
pf.1

11
13
15
20

voice
voice
voice
pf.2

8

Comment
 added by analogy with pf.
D: blanke Stjerner og
D: Jordens Skuldre, harb.11 chord 12: end of slur incomplete added; A, B: bb.11-12: pageturn
D: Jord og Himle
B: So-len hi-er blus-sen-de
D: Vinket fra Gud Herrens
lower part ﬁnal note:  added byanalogy with the other parts

Print, corrected edition (PR 24)

hagen 1886
Bar
4

Part
voice

4-5

pf.1

8-10

voice

9

pf.

9

pf.1

12

pf.2

14-15

pf.1

Silkesko over gylden Læst (“Silkesko over gylden Læst”)
voice, pf.
Text: J.P. Jacobsen

Comment
note 4: marc. added by analogy
with bb.17, 30, 43
b.4 third chord note 1 to b.5 third
chord note 1: slur omitted by analogy with bb.17-18, 43-44
D: ﬂygtig Stund, / Man bort kan i Aar
ej græde.
added by analogy withbb.22, 35, 48
upper part notes 1-3: slur emended to slur notes 2-3 by analogy
with bb.22, 48
ﬁrst crotchet to fourth crotchet:slur added by analogy with bb.25,
38, 51b.14 chords 1-5 and b.15 chords
1-5: slurs emended to one by analogy with bb.1-2, 27-28

Dating: [1893]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 418

418

22/02/09 8:31:59

16

pf.1

17

pf.1

18-20

pf.2

24, 25 pf.1
25-26

27

voice pf.

voice

28

pf.1

29

pf.1

30
30

voice
pf.1

32

pf.1

34

pf.2

35

pf.1

36

pf.

36

pf.1

37

voice

38

voice

38-39

voice pf.

38

pf.1

39

pf.1

40

voice

40-41

pf.1

chord 4: marc. added by analogy
with b.3
upper part chord 4: ten. added byanalogy with b.4
slur added by analogy with bb.5-7,
31-33, 44-46
ﬁrst to third crotchet: slur addedby analogy with bb.11, 12, 37, 50, 51
b.26 ﬁrst crotchet: beginning ofemended to b.25 byanalogy with b.12
end ofemended fromb.26 fourth crotchet by analogy
with b.14
chord 1: beginning ofemended to chord 4 by analogy
with bb.2, 15
chord 4: marc. added by analogy
with b.3
B: halvt i Drømmen
chord 4: marc. added by analogy
with b.3
upper part fourth crotchet: end ofslur emended to third crotchet byanalogy with bb.6, 19, 45
chord 1:  emended to  by analogy with bb.8, 21, 47
ﬁrst to fourth crotchet: sluremended to slurs ﬁrst to second
crotchet and third to fourth
crotchet by analogy with bb.22, 48
ﬁrst crotchet: beginning ofemended to third
crotchet by analogy with bb.10, 23
fourth crotchet: marc. added byanalogy with bb.10, 23
Harm emended to Sorg by analogy
with bb.24, 50 and in accordancewith D
Sorg emended to Harm by analogy
with bb.25, 51 and in accordancewith Db.39 ﬁrst crotchet: beginning ofemended to b.38 byanalogy with b.12
ﬁrst to third crotchet: slur addedby analogy with bb.11, 12, 37, 50, 51
chord 1: beginning of sluremended to chord 2 by analogy
with bb.13, 26, 52
end ofemended fromb.39 fourth crotchet by analogy
with b.14
b.40 chords 1-5 and b.41 chords
1-5: slurs emended to one by anal-

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 419

40-41

pf.2

41

pf.1

42-43

pf.1

49

pf.

49

pf.1

51-52

voice pf.

53

voice

56

voice

ogy with bb.1-2, 27-28; A, B, C: bb.
40-41: page turnend of open slur emended; A, B, C:
bb. 40-41: page turnchord 1: beginning ofemended to chord 4 by analogy
with bb.2, 15
chord 4: articulation added byanalogy with bb.3-4
ﬁrst crotchet: beginning ofemended to third
crotchet by analogy with bb.10, 23
fourth crotchet: marc. added byanalogy with bb.10, 23
b.52 ﬁrst crotchet: beginning ofemended to b.51 byanalogy with b.12
end ofemended fromb.52 fourth crotchet by analogy
with b.14
 added by analogy with pf.

10 Vise af “Mogens” (“Havde jeg, o havde jeg en Dattersøn”)
voice, pf.
Text: J.P. Jacobsen
Dating: [1893]
SourcesA

Print, corrected edition (PR 24)

B

Print, ﬁrst edition (PR 21)

C

Manuscript copy (MS 32 3026)

D

Printed text, J.P. Jacobsen, Digte og Udkast, Copenhagen 1886

Bar
3-6

Part
pf.2

7-10

pf.

7-10

pf.2

13

voice

Commentb.5: end of slur emended to b.6 byanalogy with b.24
b.7 fourth quaver: end of
emended to b.8 fourth quaver byanalogy with voice and by analogy
with bb.25-26; b.7 ﬁrst quaver
to b.9 fourth quaver;emended to bb.9-10 by analogy
with voice and by analogy withbb.27-28
b.7 note 1 to b.8 note 3 and b.9
note 1 to b.10 note 1: two slurs
emended to one by analogy withbb.25-28
D: Datter, o419

22/02/09 8:32:00

18-19
19-20

pf.2
pf.1

25-28

voice

29
33-36

pf.
pf.

34-36

slur added by analogy with bb.36-37
stacc. added by analogy withbb.1-2, 37-41
added by analogy with pf. and with bb. 7-10
added by analogy with b.11
b.33 ﬁrst quaver to b.34 second
crotchet and b.35 ﬁrst crotchet
to b.36 second crotchet: twoemended to one by analogy with bb.15-18
b.35 second crotchet: end of sluremended to b.36 note 1; A, B: b.36
note 1: open slur; bb.35-36: changeof system

pf.2

S E K SS A N G E

L U D V I G

T I L

T E K S T E R

H O L S T E I N ,

O P.

A F

12

pf.2

20-21

pf.1

21

pf.1

24

pf.2

62
63-64

pf.1
pf.

63

pf.1

64

voice

66

pf.2

66

pf.2

10

The main source, the ﬁrst printed edition of 1897
(PR 3), is based an unknown printing manuscript
drafted from the fair copy and drafts to 11, 12, 13,
14, 15 and 16. The revision has mainly consisted innormalising dynamics based on the main source
itself; the manuscripts have been consulted in casesof doubt. The manuscript copy MS 33 2245 of 14 wasvoice, pf.
Text: Ludvig Holstein1897 or 1898; the song is a transposed version of the

Dating: [1895-1896]

original. The German translation in A has been omit-

Sources

11 Æbleblomst (“Du ﬁne, hvide Æbleblomst!”)voice, pf.
Text: Ludvig Holstein
Dating: [1895-1896]

A

Print, ﬁrst edition (PR 3)

B

Fair copy without text, autograph (MS 33 2066)

C

Sketch (MS 33 2067)

Bar

Part

3

pf.

7

voice

9
10

pf.1
voice

12

pf.1

SourcesA

Print, ﬁrst edition (PR 3)

B

Draft (MS 33 2280)

C

Print (PR 88)

Bar

Part

4-6

pf.2

Comment
I addedupper part: slur b.4 note 2 to b.6
note 2 and slur notes 2-4 emended
to one slur b.4 note 2 to b.6 note 4
by analogy with bb.16-18

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 420



12 Erindringens Sø (“Træd stille, min Veninde”)

presumably made for a speciﬁc performance afterted in the present edition.

lower part note 4: marc. addedby analogy with b.24; lower partnotes 3-4: beam broken by analogy
with pf.1
poco emended from b.21 note 1
by analogy with voicenote 4: stacc. added by analogy
with b.9
lower part note 3: stacc. addedby analogy with b.12; lower partnotes 3-4: beam broken by analogy
with pf.1
note 6:  addedend ofemended fromb.63 last quaver to b.64 last quaver
by analogy with bb.10, 22
note 4: stacc. added by analogy
with b.9
end ofemended fromnote 1 to note 3 by analogy withpf.
lower part note 3: stacc. addedby analogy with bb.12, 24; note
4: marc. added by analogy withbb.12, 24
lower part notes 3-4: beam broken
by analogy with pf.1

Comment
C: the song is notated with voltas,
hence stanzas 1 and 2 are identicalII added
added by analogy withb.20
note 1: cresc. emended to cre-scen-do
by analogy with b.24
chord 1: superﬂuous dim. omitted
added by analogy with pf. andb.27 (voice)chord 1: ten. added by analogy
with pf.2



420

22/02/09 8:32:00

14

voice

added by analogy with
b.31

15

voice

16
21-22

voice
voice

21-22

pf.

22
23

voice pf.1
voice

29-30

pf.

33-34

voice

35-36

pf.2

36

pf.1

added by analogy with b.32
added by analogy with b.33
end ofemended fromb.21 note 8 by analogy with bb.4-5
in b.21and b.22
emended to one
by analogy with bb.4-5
superﬂuous dim. omitted
added by analogy withb.6
ten. added by analogy with bb.1213
b.33 notes 4-7 and b.34
notes 1-2 emended tob.33 note 5 to b.34 note 2 by analogy with bb.16-17
upper part: slurs added by analogy
pf.1
superﬂuous
omitted

19-22

pf.2

20

pf.1

27

pf.1

27

pf.2

28
28-31

voice
pf.1

33

pf.1

33
40

pf.2
pf.1

Ludvig Holstein

41
46

voice
pf.1

Dating: [1895-1896]

53

pf.1



13 Sommersang (“Fyldt med Blomster blusserÆbletræets Gren”)
voice, pf.

SourcesA

Print, ﬁrst edition (PR 3)

B

Sketch (MS 33 2067)

1-4, b.20 notes 1-7, b.21 notes 1-4,
b.22 notes 1-6 by analogy withbb.6-9lower part: slur b.19 note 1 to b.22
note 4 emended to slurs b.19 notes
1-4, b.20 note 1 to b.22 note 4 byanalogy with bb.6-9
lower part: slur added by analogy
with b.7
lower part: beginning of sluremended from upper part note
1 to lower part note 1 by analogy
with b.14
added by analogy with pf.1
added by analogy with pf.
slurs b.28 notes 1-12, b.29 note 1 tob.31 note 12 emended to one slurby analogy with bb.28-29 (pf.2)
lower part: slur added by analogy
with b.7
upper part note 3: b emended to c 'lower part: beginning of sluremended from upper part note
1 to lower part note 1 by analogy
with b.14
added by analogy with pf.
lower part: slur added by analogy
with b.7
lower part: beginning of sluremended from upper part note
1 to lower part note 1 by analogy
with b.14

14 Sang bag Ploven (“I Solen gaar jeg bag min Plov”)
Bar
13-14

15
15-16

16-18

16-17

19-22

Part
pf.2

voice
pf.

pf.1

pf.2

pf.1

Comment
III added
lower part: slur b.13 note 1 to b.14
note 10 emended to slurs b.13
notes 1-12, b.14 notes 1-10 by analogy with upper part (b.13)
added by analogy with pf.
end of slur emended from b.15
note 12 to b.16 note 12 by analogy
with b.3
upper part: slur b.16 note 1 to b.18
note 12 emended to slur b.17 note
1 to b.18 note 12 by analogy withbb.4-5slur b.16 note 1 to b.17 note 7
emended to slur b.17 notes 1-7 byanalogy with b.4
upper part: slur b.19 note 1 to b.22
note 6 emended to slurs b.19 notesCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 421

voice, pf.
Text: Ludvig Holstein
Dating: [1895-1896]
Other versions: 213 (pf.)
SourcesA

Print, ﬁrst edition (PR 3)

B

Sketch (MS 33 2106)

C

Sketch (MS 32 3039)

D

Manuscript copy (MS 33 2245)

Bar

Part

12, 44 pf.

Comment
IV added
added by analogy withvoice and b.28

421

22/02/09 8:32:00

15 I Aften (“Det gyldenhvide Himmellys”)

29

pf.1

31-40

pf.1

41

pf.1

voice, pf.
Text: Ludvig Holstein
Dating: [1895-1896]
SourcesA

Print, ﬁrst edition (PR 3)

B

Manuscript copy without text (MS 33 2113)

C

Draft without text (MS 33 2112)

Bar

Part

3

pf.2

4
5-7

pf.
pf.1

9-11

pf.1

12

voice

14-21

pf.1

19-22

pf.2

24

pf.

25-26

voice

26

pf.1

26-27

pf.2

27

pf.

27

pf.1

27-28

pf.2

28-30

pf.

Comment
V addedlower part note 2: marc. added byanalogy with pf.1 and b.43
superﬂuous dim. omitted
slurs b.5 ﬁrst crotchet to lastcrotchet, b.6 ﬁrst crotchet to last
quaver, b.7 ﬁrst crotchet to last
quaver emended to one slur by
analogy with bb.24-26
upper part: slurs b.9 notes 1-5,
b.10 note 1 to b.11 last crotchet
emended to one slur by analogy
with bb.28-30
added by analogy with b.31
and pf.
upper part: slurs b.14 notes 1-5,
b.15 note 1 to b.21 note 4 emended to one slur by analogy withbb.33-40
beginning of slur emended
from b.20 note 1 by analogy withb.38
added by analogy with b.5 andvoice (b.4)
added by analogy withbb.6-7end of slur emended from b.27
note 1 to b.26 last quaver
lower part: end of slur emended
from note 1 to note 2 by analogy
with bb.7-8
added by analogy withb.8
upper part: beginning of sluremended from note 2 to note 1 byanalogy with b.8
lower part: beginning of sluremended from b.27 note 2 to note
3 by analogy with bb.8-9
b.28 notes 1-5 and b.29
note 1 to b.30 note 5 emended to
one by analogy with bb.9-11

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 422

chord 3: f ' , a' , d'' emended to f' ,a' , d'' ; A: below chord 3: letters f,
as added in pencil
upper part: slur b.31 note 1 to b.34
note 4, b.35 note 1 to b.36 note 6,
b.37 note 1 to b.40 note 4 emended
to slurs bb.31-32 and bb.33-40 byanalogy with bb.12-21
upper part note 1: g' emended tof' ; A: upper part note 1: g' corrected to f' in pencil

16 Hilsen (“Den dovne Fjord som gynger”)
voice, pf.
Text: Ludvig Holstein
Dating: [1895-1896]
SourcesA

Print, ﬁrst edition (PR 3)

B

Sketch (MS 33 2067)

C

Sketch (MS 33 2106)

Bar

Part

4-6

pf.

5-6

voice

7-10

voice

11
21
38

voice
voice
pf.

39

pf.1

51-54

voice

51-54

pf.

54

voice

Comment
VI addedbb.4-5: cre—scen—do and b.6:
emended to one
by analogy with bb.48-50
added by analogy withbb.49-50
added by analogy
with pf.
added by analogy with pf.
added by analogy with pf.
added by analogy withvoice
lower part note 6: d' emended to d'by analogy with upper part note 1(pf.2)
emended fromend ofb.53 note 2 by analogy with pf.
bb.51-52 and bb.53-54
emended to one by analogy withbb.7-10
added by analogy with pf.







422

22/02/09 8:32:01

T R ES A N G E

F R A

D R A C H M A N N ’ S‘ H R .

O L U F ,H O L G E R

Sources

M E L O D R A M A

H A N

R I D E R

– ’

The printed edition (A) has been elected as copy
text and collated with the printing manuscripts(B, B1, B2).
17 Hellelidens Sang (“Helleliden aksler sin Koftegraa”)
voice, pf.

A

Print (PR 42)

B

Printing manuscript, autograph (MS 33 3039)

Bar
1
1
2

Part
pf.
pf.1
voice

3
6
6
8

pf.
pf.
pf. 1
voice

9

voice

Text: Holger Drachmann
Dating: 1906

1

Print (PR 4 )B1 Printing manuscript, autograph (MS 32 3060)
B2 Printing manuscript, autograph (MS 33 3039)
Bar
1

Part
pf.

2
3
3

pf.
pf.
pf.1

3

pf.2

4
5
7

pf.
pf.
voice

7

pf.

8-9

voice

8-9
9
9
10

pf.
pf.
pf.1
pf.

10

pf.2






j j

b œ œ œJ œ œ œJ œ
& b bbJ
J

Comment
chord 2:
added by analogy with dynamic marking and inaccordance with B1
B1:
andadded in pencil
B1:
andadded in pencil
B1: fourth quaver to sixth quaver:slur
B1: ﬁrst semibreve: B-d-g-b with
slur
B1:
and
added in pencil
B1:
andadded in pencil
fourth crotchet: der emended todér; B1: dèr
B2: chords 1-2: sign added inpencilb.8 note 5: rall. emended to ral-lentan-do by analogy with pf.
rall.--- emended to ral-len-tan-do
B2: rest 1:
B2: chord 1: dim.
B2: chord 1:changed toinink
B2: chord 1: e, b









voice
pf.2

voice, pf.
Text: Holger Drachmann
Dating: 1906
SourcesA

Print (PR 43)

B

Printing manuscript, autograph (MS 33 3039)

Bar
1

Part
pf.2

4

pf.2

7
9-10

voice
pf.1

10

pf.1

11-12

pf.1



voice, pf.
Text: Holger Drachmann
Dating: 1906

Carl Nielsen Udgaven CN 00051

rall. added by analogy with pf.
marc. added by analogy with pf.1
B: ﬁnal double bar: 

19 Dansevise (“Hr. Oluf der bredes dig Dug paa Disk”)






 added

12
12
12
13

18 Hr. Olufs Sang (“Vegen er Dagen”)

CNU_III_7_indmad.indb 423

bri - ster om ik - ke

SourcesA

Comment
B: chord 1:changed to in ink
chord 4:  added
B: note 1: d'' , NB? added in margin
in pencil (compositor?)
B: chord 1:
B: chord 5:
B: chord 5: no appoggiatura
B: original melody erased and new
added in ink
B:Comment
notes 7-10: stacc. added by analogy
with bb.2, 3, 8
chords 1-3: stacc. added by analogy
with bb.2, 3, 8; chord 4: marc.
added by analogy with pf.1;
lower part note 2: stacc. added byanalogy with pf.1 upper part andby analogy with pf. 2 upper part;lower part eighth quaver: stacc.
added by analogy with pf.1 lower
part and in accordance with B
B: notes 1-2:  added in pencil
b.9 chord 2 to b.10 chord 1 lower
part: tie added; A: page turn
B: chord 3: note 1: b changed to ain pencil
b.11 fourth crotchet to b.12 chord
1: tie added423

22/02/09 8:32:01

12

pf.

13

13

voice

14

voice

15
18

pf.1
voice

28I,II

pf.1

fourth crotchet: poco rall. moved
to b.13 in accordance with CNU
II/7, p. 160, b.21; rall. added byanalogy with voice (CNU II/7),
p. 161, b.22
fourth quaver: a tempo moved
from b.14 note 1 in accordancewith B
poco rall. added by analogy withb.12 (pf.) and in accordance withCNU II/7, p. 161, b.22
B: note 5: der changed to dèr inpencil
B: upper part note 4: stacc.
B: stanza 2: question mark added
at Spar-la-gen in pencil (compositor)
upper part notes 1-2: stacc. addedby analogy with bb.27I,II; upper
part note 3: ten. added by analogy
with bb.27I, II; upper part notes
10-11: marc. added by analogy with
notes 4-9; B: lower part eighth
crotchet: b' - f''

33I,II

pf.2

34I,II

pf.2

35I,II

pf.1

35I,II

pf.2

27III

pf.1

27III

pf.2

27III-28III pf.2

I,II

29
-30I,II

29I,II

30I,II

31I,II

pf.1

pf.1

pf.1

pf.2

B: bb.29I, 29II fourth crotchet to
30I, 30II ﬁrst crotchet: tie addedfrom f'' to f'' in pencil
upper part chord 6: ten. added byanalogy with bb.27I,II (notes 3, 6),
29I,II (note 3) and in accordancewith Bupper part chord 3: ten. added byanalogy with bb.27I,II (notes 3, 6),
29I,II (note 3) and in accordancewith B; B: lower part seventh andeight quaver: a' - c'' , f' - a'note 10: marc. added by analogy
with notes 6, 8 and by analogy
with pf.1

32I,II
32I,II33I,II

33I,II

voice

S T R O F I S K E

S A N G E ,

O P.

2 1

The seven songs were published as a collection in
1907, and with the exception of two of the songs (20and 23) all were composed the same year. In 1901, 20,composed for the play Kampene i Stefan Borgs Hjem,
appeared in print in Illustreret Tidende, while 23 hadalready been completed in 1903. Thus, regardingthese two songs several autograph fair copies ex-

I,II

31 32I,II

28III

lower part notes 2-3: slur added byanalogy with bb.34I,II, 27I,II;
lower part notes 2-3: slur addedby analogy with bb.33I,II-34I,II, 34I,II35I,II; lower part notes 2, 4: marc.
added by analogy with upper partand by analogy with pf.1; B: upper
part notes 6, 12: a changed to g inpencilchord 4: marc. added by analogy
with pf.2
chord 2: marc. added by analogy with pf.1; lower part note
2: stacc. added by analogy withupper part and by analogy with
pf.1; B: chord 1: d- d' changed
to d - f in pencil; chord 4: marc.
added in pencil
lower part notes 2-3: slur added byanalogy with pf.2 lower part andby analogy with bb.34I,II
lower part notes 2-3: slur added byanalogy with pf.1
b.27III lower part note 4 to b.28III
lower part note 1: slur added byanalogy with pf.1 upper part
 added by analogy with pf.

pf.2

pf.1

pf.2

pf.1

bb.31I,II lower part note 5 tobb.32I,II lower part note 1: slur
added by analogy with bb.34I,II,
27I,II
notes 8, 10: marc. added by analogy with pf.2

ist which were drafted in connection with earlier

bb.32I,II lower part note 5 tobb.33I,II lower part note 1: slur
added by analogy with bb.34I,II,
27I,II
B: upper part note 6: marc. addedin pencil; upper part notes 6-11:
slur added in pencil(B) as well as with the other fair copies and drafts.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 424

performances. Both songs were again fair copied by
the composer in connection with the printing of allseven songs. The printed edition (A), elected as copy
text, has been collated with its printing manuscript
22 and 23, which appeared in Musik for Alle and theSwedish edition (22, Source C), are all reprints of
A; the text in C, however, has been replaced with a
Swedish translation.

424

22/02/09 8:32:06

20 “Skal Blomsterne da visne”

25-26

voice

25

pf.

26

voice

26

pf.

27

voice

27

pf.

27-29

pf.1

29
34
35

voice
pf.
voice

35

pf.

36

pf.1

37-38

pf.1

39

pf.1

voice, pf.
Text: Helge Rode
Dating: 26.1.1901
SourcesA

Print, ﬁrst edition (PR 51)

B

Printing manuscript, autograph (MS 33 2212)

C

Fair copy, autograph (MS 33 2198)

D

Print (PR 52)

Bar

Part

1
1
1
2
3
3
3
3-6

pf.
pf.1
pf.1
voice pf.
pf.
pf.1
pf.1

4
4-5
5

voice
pf.1
voice

7

pf.

7-8
7
8

pf.
pf.1
pf.

10
11
11
11

pf.1
voice
pf.
pf.1

13
15
16-17

voice pf.
voice pf.
voice

17

voice

17

pf.

18

voice

19

pf.1

20
24

voice
voice pf.

Comment
C: music for one stanza with text
for all four stanzas
C, D: Allegretto non troppo
C, D:C, D: notes 2, 4: stacc.
D: notes 2, 4: stacc.
C, D:B:changed to(CN)
C: note 2: stacc.
D: b.3 notes 2, 4, b.4 notes 2, 4, b.5
notes 2, 4, b.6 note 2: stacc.
C: note 2: stacc.; note 3: ten.
C: b.4 notes 2, 4, b.5 note 2: stacc.
C: notes 1-2: slur; (all stanzas):second syllable on note 3
added by analogy withvoice and by analogy with b.16
B: cresc. added in pencil (CN)C, D: note 2: stacc.
B: last crotchet:added
in pencil (CN)note 4: stacc. added as in B
added by analogy with pf.
C, D:note 2: stacc. added as in B; note 4:
stacc. added by analogy with note 2
B:
added in pencil (CN)added by analogy with b.6
end ofemended fromb.16 note 4 by analogy with bb.7-8
note 4: espressivo added by analogy
with b.8
last crotchet:added byanalogy with b.8
dim. emended tobyanalogy with b.9
notes 2, 4: stacc. added by analogy
with b.10
added by analogy with pf.
added by analogy with b.6
















Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 425

40b.25 note 1 to b.26 note 3:
added by analogy withbb.7-8added by analogy with
b.16; B: cresc. added in pencil (CN)note 4: espressivo added by analogy
with b.8
last crotchet:added byanalogy with b.8
notes 4-5:
added by analogy with b.9
added by analogy withbb.9, 18b.27 notes 2, 4, b.28 notes 2, 4, b.29
notes 2, 4: stacc. added by analogy
with bb.9-11
added by analogy with pf.
B: cresc. added in pencil (CN)note 4: espressivo added by analogy
with b.8
last crotchet:added byanalogy with b.26
note 3: marc. added by analogy
with note 1; note 4: stacc. addedby analogy with note 2
b.37 notes 2, 4, b.38 notes 2, 4:
stacc. added by analogy withbb.28-29
notes 2, 4: stacc. added by analogy
with bb.37-38
 added at bar line as in B

21 Høgen (“Vær hilset Høg over Granetop”)
voice, pf.
Text: Jeppe Aakjær
Dating: 16.7.1907
SourcesA

Print, ﬁrst edition (PR 51)

B

Printing manuscript, autograph (MS 33 2212)

C

Draft (MS 33 2111)

Bar
1
2
2

Part
pf.2
pf.
pf.1

3-4

pf.1

4
7-9
7

pf.1
pf.1
pf.2

Comment
C: note 2:
C: chords 7-9:
C: chords 4-6: g ' , b ' , f '' ; chords 7-9:
g' , b ' , e ''
marc. added by analogy withbb.1-2
B: chord 9: c ' , e' , a'stacc. added by analogy with b.6
B: note 2: beginning of slur

ﬀz

425

22/02/09 8:32:06

9

voice

9
12

pf.
voice

14

voice

15
16
17
18
20-21

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

21
21

pf.1
pf.2

22

pf.

23-26
23-24

pf.1
pf.2

26

pf.

29

pf.1

31

voice

31-33

pf.

32
33
37
37

pf.1
pf.1
pf.1

note 2: dim. added by analogy withb.26
B: chord 3: beginning ofnote 3:  added as in B and by analogy with b.29; B: note 5: f ''
B: notes 4-6: e'' changed to b inpencil (CN)B, C: chord 1: f' , a' , d'' , f''
B: chord 2: b ' erased
poco rall. added as in B
B: note 7: marc.
b.20 chord 7 to b.21 chord 9: marc.
added by analogy with b.19 chord
1 to b.20 chord 6
B: chord 9: c ' , e' , a'note 4: marc. emended to stacc. byanalogy with b.4
sempreadded by analogy withb.5
stacc. added by analogy with bb.6-9
b.23 note 9: stacc. emended tomarc. by analogy with b.6; b.24
note 1: marc. added by analogy
with b.7
chord 2: dim. emended toby analogy with b.9
lower part note 8: added by analogy with b.12; B: f ''
note 1:
moved from b.30 note 3
by analogy with b.14; B: notes 4-6:
e'' changed to b in pencil (CN)
marc. added by analogy withbb.14-16
B: chord 1: f' , a' , d'' , f''
B: chord 2: b ' erased
 added at bar line as in B
B: a'' , f '''ﬀ

ﬀ

22 Jens Vejmand (“Hvem sidder der bag Skjærmen”)

Bar
+1

Part

+1
2
2
6
8
18
18
22
25

voice
voice
pf.1
voice
voice
voice
pf.1
pf.1
voice

26-27

pf.2

29
30

pf.1
pf.1

33
33-79

pf.
pf.

41

voice

44

voice

50

pf.1

60

voice

68

pf.2

73

voice

74

pf.1

80
81
83

pf.1
voice pf.
pf.1

87
88-89
88

pf.1
voice
pf.2

90-91

pf.2

94
94
96
96

pf.1
pf.2

voice, pf.
Text: Jeppe Aakjær
Dating: 25.6.1907
Other versions: 201 (pf.)
SourcesA

Print, ﬁrst edition (PR 51)

B

Printing manuscript, autograph (MS 33 2212)

C

Print (PR 53)

D

Print (PR 88)

E

Sketch (MS 33 2134)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 426

pf.2

Comment
B: Allegretto quasi andantinochanged to Tempo giusto (CN)added as in B
B: note 3: ten.
B: fourth crotchet: ten.
B: note 3: ten.
note 2: added by analogy with pf.
B: note 3: ten.
B: fourth crotchet: ten.
B: last chord: stacc.
note 1: espressivo added by analogy
with b.9
slur emended from slur b.26
chords 1-2 and slur b.26 chord 3 tob.27 upper part note 2 by analogy
with bb.10-11
B: chord 1: marc.
lower part note 2: marc. added byanalogy with bb.14, 46, 62, 78
B: (som før) ‘(as before)’ added (CN)B: alpha-numeric reference to bb.116 added (CN)note 1: espressivo added by analogy
with b.9
added by analogy
with b.12 and by analogy with pf.
fourth crotchet: stacc. emended toten. by analogy with b.34
added by analogy
with b.12 and by analogy with pf.
fourth crotchet: stacc. added byanalogy with bb.36, 52
note 1: espressivo added by analogy
with b.9
upper part note 2: stacc. emended
to ten. by analogy with bb.42, 58
B: last crotchet: stacc.
Un poco meno added as in B
chords 3-4: ten. added by analogy
with chords 1-2
B: chords 3-4: ten.
espressivo added by analogy with b.9
note 2: beginning of slur emended
from note 1 by analogy with theother stanzas
slur emended from slur b.90
chords 1-2 and b.90 chord 3 to b.91
upper part note 2 by analogy withbb.10-11
B: last crotchet: ten.
B: note 3: ten.
 added at bar line as in B
B: note 2: beginning of slur








426

22/02/09 8:32:07

23 “Sænk kun dit Hoved, du Blomst”

Sourcesvoice, pf.

A

Print, ﬁrst edition (PR 51)

Text: Johannes Jørgensen

B

Printing manuscript, autograph (MS 33 2212)

Dating: 8.12.1903

C

Sketch (MS 33 2134)

Other versions: 290 (voice, orch.)
SourcesA

Print, ﬁrst edition (PR 51)

B

Printing manuscript, autograph (MS 33 2212)

C

Fair copy, autograph (MS 33 2215)

D

Fair copy, autograph (MS 33 2216)

E

Draft (MS 33 2217)

F

Print (PR 88)

Bar

Part

+1

+1
2
2
6
7

pf.
voice
pf.
voice
voice

7
8
9
10
15

pf.
voice
voice
voice pf.
voice

17
20

pf.1
voice

24-30

pf.2

26
27

pf.
voice

29
30

pf.

Comment
C: music for one stanza with text
for all three stanzas
B: Andantino changed to Quasi
allegretto (CN); C, D: Andantino quasi
allegretto
C, D:
D:
C, D:
C: notes 1-5: ten.; D: notes 2-5: ten.
D: note 1: marc.; notes 1-2:


C, D, E:
D: note 1:
E: 
E: a tempo
note 1:
added by analogy with
pf. and b.6
note 1: e' emended to g' as in B
note 1: added by analogy with
pf. and b.11
one slur emended to two slurs by
analogy with bb.6-7, 15-16; A: upper part: b.24 note 1 to b.30 note 1:
slur; lower part: b.24 note 1 to b.29
note 1: slur
B:C, D (stanza 3): Favn instead ofNavn
B: dim.; D: added at bar line as in B



Bar
2
4

Part
pf.2
pf.2

6

pf.1

7

pf.1

12

pf.2

14

pf.1

15

pf.2

18I
18II

pf.2
pf.2

19

pf.2

20
21
21
21

pf.2

24 “Den første Lærke”
voice, pf.
Text: Jeppe Aakjær

voice, pf.
Dating: 1.7.1907
SourcesA

Print, ﬁrst edition (PR 51)

B

Printing manuscript, autograph (MS 33 2212)

C

Draft (MS 33 2087)

Bar
2
2, 3
5-7

Part
voice
pf.2
pf.2

7
9

voice
pf.

15-16

voice

Dating: 26.6.1907

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 427



Text: Johannes V. Jensen







25 Husvild (“Gi Husly til to Persowner”)





pf.1
pf.2

Comment
B: chords 3-4: ten.
last note: e ' emended to e' by analogy with the voicenote 13: marc. added by analogy
with bb.1-5
upper part note 1: marc. added as
in Blower part chords 1-2: marc. addedby analogy with bb.8, 11; B: lower
part chord 2: upper part note 1: marc. added as
in B
B: chord 2 (b '' ): added in pencil(CN)
after chord 5: bass clef omitted
added by analogy with volta 1;
B: bar incomplete
chord 4: marc. emended to stacc. asin B and by analogy with chord 2
added as in B added at bar line as in B
stacc. added by analogy with pf.2
stacc. added as in B

Comment
C: notes 1-2: ( f ' ) instead of  
C: chords 1-2: slur
B: b.5 chord 1 to b.7 note 1: slur
added in pencil (CN); C: b.5 chord
1 to b.7 note 1: slur
B: notes 4-5: stacc.
second to third quaver:added as in B
added by analogy
with bb.5-6 and by analogy with pf.

427

22/02/09 8:32:07

17

pf.

17

pf.1

18

voice

22

pf.1

25-27

pf.2

26

voice

27

pf.

29
30

pf.
voice pf.

32

pf.1

35
35
35-37

voice
pf.1
pf.2

36

voice

37

pf.

39

pf.

third quaver: stacc. added by analogy with b.7
chord 1: stacc. added by analogy
with pf.2
B: note 1: marc. added in pencil(CN)note 1: marc. added by analogy
with bb.2, 12
B: b.5 chord 1 to b.7 note 1: slur
added in pencil (CN)note 1: added by analogy withb.6 and by analogy with pf.
stacc. added by analogy with bb.7,
17
last quaver: added as in B
B:changed toin pencil(CN)
note 1: marc. moved from note 2
as in BB:
added in pencil (CN)
B: slur added in pencil (CN)
B: b.35 chord 1 to b.37 note 1: slur
added in pencil (CN)note 1: added by analogy withb.6 and by analogy with pf.
stacc. added by analogy with bb.7,
17, 27second and third quaver:added by analogy withbb.9, 19, 29; fourth quaver:added as in B added at bar line as in B













41

26 Godnat (“No wil a sej Jer Godnæt”)
voice, pf.
Text: Johannes V. Jensen
Dating: 28.6.1907

13
19

pf.2
voice

21

voice

27-30

pf.1

33

pf.1

34

pf.

35
40

voice
pf.2

41

pf.

42

voice

43
44-47

pf.
pf.1

48
50

voice
pf.1

51

pf.

52
54

voice
voice

57

voice

61-64

pf.1

65
65

voice
pf.

70

6

C ( 4 ):  (C, c)  (C, c)nu emended to no by analogy withb.1
note 3: b ' emended to b ' as in
B and by analogy with b.4; dim.
added by analogy with pf.
upper part: ten. added by analogy
with bb.10-13
lower part notes 2, 4:  added as in
B and by analogy with b.16
added as in B and byanalogy with b.17
added by analogy with pf.
chord 2: D , d emended to D / d asin B and by analogy with bb.6, 23,57
chord 2: wavy line omitted byanalogy with B; B:
note 4: dim. added by analogy withpf.
B: dim.
upper part: ten. added by analogy
with bb.10-13
B: note 1:
lower part notes 2, 4:  added as in
B and by analogy with bb.16, 33
added as in B and byanalogy with bb.17, 34
added by analogy with pf.
nu emended to no by analogy withb.1
nu emended to no by analogy withb.1
upper part: ten. added by analogy
with bb.10-13
B: note 1:
B:changed toin ink(CN) added at bar line as in B



z











SourcesA

Print, ﬁrst edition (PR 51)

B

Printing manuscript, autograph (MS 33 2212)

C

Draft (MS 33 2087)

Bar

Part

1
2
4
6

pf.2
pf.2
voice

S A N G E

L . C .

N I E L S E N S

F R A
S K U E S P I L‘ W I L L E M O E S ’

Comment
6
C: notated in 4 with F major key
signature
B: Andantino quasi allegrettochanged to Quasi allegretto (CN)C: chord 1: f , c'
C: chord 2: f , b , d'nu emended to no by analogy withb.1

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 428

F E M

27 “Fædreland! Fædreland!”voice, pf.
Text: L.C. Nielsen
Dating: [1907-1908]

428

22/02/09 8:32:07

SourcesA

Print, ﬁrst edition (PR 6)

B

Fair copy (voice, bass drum) autograph(MS 33 4021)

Bar
1

Part

Comment
A: Disse Stjernenoder erstatte Stortrommen og udføres ved at anslaa
en Del af Klaverets dybeste Toner. Ved
cresc. og
tager man ﬂere og ﬂere
Toner med saa det dundrer. ‘Thesestar-shaped notes represent thebass drum and may be performed
by striking a number of the
piano’s deepest notes. At cresc. andmore and more notes should
be struck so that the sound thunders.’
B: missing
bass drum B:
bass drum B:  bass drum B:  bass drum B:  bass drum B:  bass drum B:   bass drum B:  bass drum B:  voicebrackets omitted from vildt begejstret ‘wildly enthusiastic’
bass drum B:  bass drum B:  bass drum B:   bass drum B:  bass drum B:  bass drum B:  bass drum B:  bass drum B:   bass drum B:
instead of

ﬀ

Bar
+1

Part
pf.1

4-5
5-7
6
11
12
13
17

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

18-20
20
22
22
23

pf.2
pf.1

ﬀ

1
2
4
6
8
10
11
15
17
19
19
21
22
26
28
30
32
33
34







pf.2

Comment
stacc. emended to ten. as in B andby analogy with pf.2
B: no tie
B: no slurs
B: no ten.
B: no slurs
B: no ten.
B: no ten.
B: * refers to the following phrase
added at the bottom of thepage: 1ste Vers deklameres til Musiksaaledes at Musiken spiller nogle
Takter forud, da Talen ellers bliver
unaturlig langsom. Ved * (Omkvædet)maa imidlertid Deklamationen og
Musiken gaa i samme Rytme som om
det var Sang og naturligvis afpasses
i Styrkegrad. I 2det Vers falder Koret
ind ved Omkvædet. I 3die Vers synger
Koret i fuld Kraft hele Melodien.‘Theﬁrst stanza is to be recited tothe music in such a way that themusic plays some bars ahead,since the speech otherwise
would be unnaturally slow. At *(the refrain) the recitation andthe music must be in the same
rhythm, however, as if it werea song and the dynamic leveladjusted, of course. In the second
stanza, the choir enters at therefrain. In the third stanza, thechoir sings the whole melody atfull strength.’marc. added by analogy with b.17
marc. added by analogy with pf.2
B: no rall.
chord 3: emended to  as in B
B:  on the double bar

29 “Følger hvo som følge kan!”

28 “Ja, tag os, vor Moder”
voice, pf.

voice, pf.

Text: L.C. Nielsen

Text: L.C. Nielsen

Dating: [1907-1908]

Dating: [1907-1908]

Other versions: 304 (SATB)
SourcesA

SourcesA

Print, ﬁrst edition (PR 6)

B

Fair copy, autograph (MS 33 4021)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 429

Bar
12

Print, ﬁrst edition (PR 6)
Part

Comment
A: (Efter Rahbek) ‘(After Rahbek)’

429

22/02/09 8:32:08

30 Vibekes Sang (“Jeg mødte en Sang paa den alfare
Vej”)

9

pf.1

10

pf.1

voice, pf.

fourth and eighth quaver: stacc.
added by analogy with b.5
chord 1: marc. added by analogy
with pf.2

Text: L.C. Nielsen
Dating: 31.12.1907

33 Fuglefængervise (“I Skoven vipper de Fugle smaa”)
voice, pf.

Sources

Text: Ludvig HolsteinA

Print, ﬁrst edition (PR 6)

Dating: [1908]

B

Fair copy, autograph (MS 33 4021)
Sources

Bar
7

Part
pf.2

Comment
upper part last note:  emended toby analogy with the other parts

A

Print, ﬁrst edition (PR 7)

Bar
2

Part
voice

21

pf.1

31 “Havets Sang (Havet omkring Danmark)”
voice, pf.

Comment
brackets omitted from yderst sart
‘extremely soft’note 1: emended to 

Text: L.C. Nielsen
34 Toves Sang (“Der stod en Engel hos mig”)

Dating: [1907-1908]

voice, pf.

Other versions: 203 (pf.), 367 (SSA)

Text: Ludvig Holstein
Dating: [1908]

SourcesA

Print, ﬁrst edition (PR 6)

B

Fair copy, autograph (MS 33 4021)

Sources
A

Bar
1

Part

F I R E

Comment
B:  = 80

S A N G E

H O L S T E I N S

F R A

L U D V I G

S K U E S P I L

Print, ﬁrst edition (PR 7)

Bar
4

Part
pf.1

4

pf.2

5

pf.1

5

pf.1

10
10-11

pf.2

‘ T O V E ’

32 “Vi Sletternes Sønner har Drømme i Sind”
voice, pf.
Text: Ludvig Holstein
Dating: [1908]
Other versions: 204 (pf.)
SourcesA

35 Jægersangen (“Glenten styrter fra Fjældets Kam”)

Print, ﬁrst edition (PR 7)

Bar
6

Part
pf.

9

pf.

voice, pf.

Comment
seventh quaver: stacc. added byanalogy with b.10
third quaver: stacc. omitted byanalogy with b.5

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 430

Comment
upper part notes 5-7: open sluremended to slur; A: bb.4-5: changeof system
notes 2-4: open slur emended toslur; A: bb.4-5: change of system
upper part: note 1: ten. added byanalogy with b.6
upper part: note 4: stacc. added byanalogy with b.6
brackets omitted from rall.
open slur b.10 chord 2 emended toslur bb.10-11; A: bb.10-11: changeof system

Text: Ludvig Holstein
Dating: [1908]
SourcesA

Print, ﬁrst edition (PR 7)430

22/02/09 8:32:08

Part
voice pf.

16

pf.2

16

pf.2

18

pf.

Comment

C

Fair copy, autograph (MS 33 4018)

D

Sketch (MS 33 4019)

E

Print (PR 88)

Bar

Part

œ œ œ œœ

2

voice

p
# œœ

11

voice

in bb.11-12 emended todim. by analogy with bb.31, 51
chords 3-4: slur added by analogy
with bb.36, 56
chord 4: marc. omitted by analogy
with bb.36, 56&?

~~~~~~~~~~~~~~

Bar
11

œœ
œ

emended to37 Kommer I snart, I Husmænd! (“Raabet stiger i

œ- œ- œ- œ- œ& œ œp# œœ œœ
œ
?

20

pf.1

20

pf.2

20

pf.2

29
37
42
51

voice
voice
voice

58
60

pf.1
voice

60

pf.

Comment
C, D: notated in C major
A: an explanatory footnote to
Purle: forkrøblet Træ ‘stunted tree’
C: note 3: langsomt, dybtfølt ‘slowly,
heartfelt’

Morg’nens Skær”)
voice, pf.
Text: Jeppe Aakjær
Dating: [1909]

by analogy with bb.38, 58
chord 1: ten. added by analogy
with bb.40, 60
upper part: slur added by analogy
with bb.40, 60
lower part: slur notes 1-2 emended
to slur notes 1-3 by analogy withbb.40, 60
added by analogy with bb.9, 49
added by analogy with bb.17, 57
brackets omitted from tranq.
note 3: emended from  (g' - f' ) byanalogy with b.11
ten. added by analogy with b.38
in b.61 emended toin b.60 byanalogy with bb.20, 40
added by analogy with bb.20, 40ﬀ

SourcesA

Print, ﬁrst edition (PR 8)

B

Printing manuscript, autograph (MS 33 4017)

C

Fair copy, autograph (MS 33 4018)

D

Sketch (MS 33 4019)

E

Print (PR 88)

With permission from Wilhelm Hansen, this song
was printed in Arbejdersangbogen (1926) with two additional stanzas which, however, are not included in
the present edition.
Bar
1
3-4

Part

Comment
C: Tempo giusto
C: upper part: b.3 note 1 to b.4
note 2: marc.
C: poco mosso added in blue crayon(CN)
C: rall. added in blue crayon (CN)dash added by analogy with bb.14,
23

pf.1

5

T O

S A NG E

S K U E S P I L

F R A

J E P P E

‘ U LV E N S

A A K J Æ R S

S Ø N ’

11
32

voice

36 Gamle Anders Røgters Sang (“Der staar en Purle”)
voice, pf.
SALMER

Text: Jeppe Aakjær

OG

A ANDELIGE

SANGE

Dating: [1909]
The printed edition of 1919 has been elected as copy
Sources

text (A) and collated with the printing manuscriptA

Print, ﬁrst edition (PR 8)(B). A large number of drafts and sketches haveB

Printing manuscript, autograph (MS 33 4017)

survived which most often can be termed as harmo-

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 431

431

22/02/09 8:32:08

Bar

nised versions of the same melody; these sourcesPart

have not been relevant for the editing. The sources
reveal that Nielsen often applied to Paul Hellmuth

Comment
stanzas renumbered; A, B: stanzas
numbered 1, 4, 5, 9, 11, 15, 16, 17,
19 as they appear in F

for assistance when it came to harmonising the
Stanza Line92

melodies: Nielsen sent the melody written in pencil
to Hellmuth who then returned the harmonisation
in ink. The list of emendations contains mainly the

40 “Denne er Dagen, som Herren har gjort”

variants between A and B.

pf./SATB
Text: N.F.S. Grundtvig* For the speciﬁcation of “part”, S, A, T and B (as re-Dating: [1919]

gards to Salmer og Aandlige Sange) have been employedrather than “pf.2 upper part”, for instance.

Sources

38 “Ak, min Rose visner bort”
pf./SATB
Text: Hans Adolph Brorson
Dating: [1919]

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft (MS 33 2040)

Bar
19

Part
A

Comment
B: note 1: e' (  ) changed to e' - f' (in pencil (Paul Hellmuth)

Stanza Line
1
4
1
7
1
8
2
8
3
4
4
2

Comment
B: saa instead of saá
B: nedfòr instead of nedfór
B: Vèd instead of Véd
B: Stæde! instead of Stede
B: Hjærte instead of Hjerte
indvirkede emended to indviede inaccordance with B

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft/Sketch (MS 33 2040)

Bar
9

Comment
B: kom instead of kom,Part
B

Comment
B: note 1: f ( ) emended to f - F (in pencil (Paul Hellmuth)

Stanza Line
6
2
8
5
9
1

Comment
B: kænd instead of kend
B: déri instead of deri
B: beklæmte instead of beklemte))

41 “Den store, hvide Flok vi se”
pf./SATB
Text: Hans Adolph Brorson
Dating: [1919]

39 “Alt paa den vilde Hede”
pf./SATB

Sources

Text: N.F.S. Grundtvig
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, Paul Hellmuth (MS 33 2007)

D

Sketch (MS 33 2006)

E

Fair copy, Paul Hellmuth (MS 33 2008)

F

N.F.S. Grundtvig, Sang-Værk, Copenhagen 1951,

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft, partly autograph (MS 33 2210)

D

Draft (MS 33 2211)

Bar
2

Part
T

5

T

Comment
B: note 2: c' changed to f in pencil(Paul Hellmuth)
B: note 1: g crossed out in pencil
and pitch changed to e in blue
crayon (Paul Hellmuth)

vol. 5

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 432

432

22/02/09 8:32:09

Stanza Line
1
6
1
11

Comment
B: en instead of den
B: dèr instead of dér

42 “Der er en Bøn paa Jorden”
pf./SATB
Text: N.F.S. Grundtvig

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, Paul Hellmuth (MS 33 2055)

D

Draft, partly autograph (MS 33 2054)

Bar
5

Dating: [1919]

T

Sources
1

A

Print (PR 9 )BPrinting manuscript, autograph (MS 33 2189)

C

Fair copy, Paul Hellmuth (MS 33 2042)

Bar
2
2

Part
A
T

2

B

3

A

3

Part
A

B

Stanza Line
1
3

Comment
B: note 2: e' changed to d' in pencil(Paul Hellmuth)
B: note 2:changed to  inpencil (Paul Hellmuth); note 3:
c' changed to a in pencil (PaulHellmuth); note 4: b changed to gin pencil (Paul Hellmuth)
B: note 2: c changed to f in pencil(Paul Hellmuth)
B: note 3: d' changed to e' in pencil(Paul Hellmuth); note 4: f' changed
to d' in pencil (Paul Hellmuth)
B: note 3: g changed to e in pencil(Paul Hellmuth); note 4: d changed
f in pencil (Paul Hellmuth)
Comment
B: mer’ instead of mer

6

B
T

Comment
D: note 3: f' changed to e' in pencil(CN)
D: note 3: a changed to b in pencil(CN)
D: note 4: f changed to c in pencil (CN)
D: note 4: a changed to f in pencil(CN)

45 “Det koster ej for megen Strid”
pf./SATB
Text: Hans Adolph Brorson
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, autograph (MS 33 2056)

D

Sketch (MS 33 2060)

Stanza Line
2
1

2
3

3
3

Comment
B: Læg som et Barn dig ned changed
to Gør som et Barn og læg dig ned inpencil (compositor?)
B: Barn instead of Barn,
B: arme instead of arme,

43 “Der er en Vej”
46 “Dig vil jeg elske”

pf./SATB
Text: N.F.S. Grundtvig

pf./SATB

Dating: 22.4.1914

Text: Hans Egede Glahn
Dating: [1919]

SourcesA

Print (PR 91)

Sources

B

Printing manuscript, autograph (MS 33 2189)

A

Print (PR 91)

C

Draft (MS 33 2233)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, partly autograph (MS 33 2057)

D

Draft (MS 33 2058)

44 “Det er et Under paa Verdens Ø”
pf./SATB

Bar
5

Text: N.F.S. Grundtvig
Dating: [1919]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 433

Part
A

Comment
B: note 2: crossed out in pencil(Paul Hellmuth)

433

22/02/09 8:32:09

7

B

12

Stanza Line
2
1

B: note 1: f changed to d in pencil(Paul Hellmuth)
B: end of ﬁnal bar: F. Dur added inblue crayon
Comment
B: Livet instead of Livet,

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft (MS 33 2150)

D

Fair copy, Paul Hellmuth (MS 33 2151)

Bar
9-10

47 “Drag, Jesus, mig”

Part
TB

? ˙œ œ

pf./SATB
Text: Hans Adolph Brorson
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft (MS 33 2060)

D

Fair copy, Paul Hellmuth (MS 33 2061)

Bar
4

Part
A

Stanza Line
2
5

Comment
B:

Stanza Line
2
5
3
1
4
5-6
5
1
5
3
5
5
5
6

œ˙ œ ˙˙Comment
B: tjænt instead of tjent
B: Hjærtens instead of Hjertens
B: Fred, ti instead of Fred thi
B: saá instead of saa
B: Hjærtens instead of Hjertens
B: ti instead of thi
B: Hjærtet instead of Hjertet

50 “Forunderligt at sige”

Comment
C: note 3: e'

pf./SATB
Text: N.F.S. Grundtvig

Comment
skue emended to skue! according
to B

Dating: 28.2.1914
Sources48 “Dybt hælder Aaret i sin Gang”

A

Print (PR 91)

pf./SATB

B

Printing manuscript, autograph (MS 33 2189)

Text: C.J. BoyeC

Fair copy (MS 33 2072)

Dating: [1919]

D

Draft, partly autograph (MS 33 2098)

E

Draft (MS 33 2178)

Sources

Stanza Line
4
3

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft (MS 33 2178)

D

Fair copy, Paul Hellmuth (MS 33 2063)

Stanza Line
4
4
7
4
8
3

Comment
B: saà instead of saa
B: Hjærteblad, instead of Hjerteblad.
B: ti instead of thi

4
5
6
6

8
2
2
6

6

below 8Comment
B: Stjærnefakler instead of Stjernefakler
B: Tjæneste instead of Tjenesteder emended to dér as in B
B: Hjærte instead of Hjerte
B: du den har instead of du hardenBrorson emended to N.F.S. Grundtvig

51 “Fred med dig”
pf./SATB

49 “Et helligt Liv, en salig Død”
pf./SATB

Text: N.F.S. Grundtvig

Text: N.F.S. Grundtvig

Dating: [1919]

Dating: [1919]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 434

434

22/02/09 8:32:10

Sources

B

Printing manuscript, autograph (MS 33 2189)

A

Print (PR 91)

C

Fair copy (MS 33 2075)

B

Printing manuscript, autograph (MS 33 2189)

D

Draft (MS 33 2173)

C

Draft (MS 33 2100)
54 “Glæden hun er født i Dag”

Bar
2

Part
T

Comment
B: third crotchet: a - d' ( )changed to a ( ) in pencil (PaulHellmuth); note 4: d' changed to gin pencil (Paul Hellmuth)

Stanza Line
1
5
3
5

Comment
B: end saa instead of saa end
stole emended to store as in B

52 “Fred og Glæde, for dem græde”

pf./SATB
Text: Thomas Kingo
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy (MS 33 2086)

D

Sketch (MS 33 2099)

pf./SATB
Stanza Line
1
5
4
10

Text: N.F.S. Grundtvig
Dating: [1919]

5

Sources1

Comment
B: er instead of var
B: Morgenrøden! instead of Morgenrøden.
B: Herre! instead of Herre.

1A

Print (PR 9 )BPrinting manuscript, autograph (MS 33 2189)

C

Fair copy, Paul Hellmuth (MS 33 2073)

55 “Guds Engle i Flok”
pf./SATB
Text: N.F.S. Grundtvig

Bar
2

Part
T

2

B

6-7

Comment
B: note 1: a changed to g in pencil(Paul Hellmuth)
B: note 1: A changed to c in pencil(Paul Hellmuth)
B: b.6 second minim to b.7:#

Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)
Draft (MS 33 2226)& ~ ẇ # ˙

œœ œœ ˙œ n œ ˙œ œC? # ~ ˙˙ ˙˙˙œœ œœ œ˙ # œ ˙

Bar
1

Part
A

1

T

1

B

crossed out in pencil and new
harmonisation added in pencil(CN)

53 “Frisk op! endnu en Gang”

Comment
B: note 4: f' changed to a' inpencil and blue crayon (PaulHellmuth)
B: notes 3-4: b - a changed to d' - c'in pencil and blue crayon (PaulHellmuth)
B: note 3: d changed to b in pencil
and blue crayon (Paul Hellmuth)

pf./SATB
Text: Hans Adolph Brorson

56 “Guds Fred er mer end Englevagt”

Dating: [1919]

pf./SATB
Text: N.F.S. Grundtvig

SourcesA

Dating: [1919]

Print (PR 91)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 435

435

22/02/09 8:32:10

Sources

59 “Har nogen Lyst at kende”

A

Print (PR 91)

pf./SATB

B

Printing manuscript, autograph (MS 33 2189)

Text: N.F.S. Grundtvig

C

Draft, partly autograph (MS 33 2091)

Dating: [1919]

D

Draft (MS 33 2059)
Sources

Bar
6

Part
B

Comment
B: notes 3-4: G-A changed to g-a inpencil (Paul Hellmuth)

57 “Gud skal al Ting mage”
pf./SATB
Text: Hans Adolph Brorson
Dating: [1919]

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft (MS 33 2040)

D

Fair copy, Paul Hellmuth (MS 33 2097)

Stanza Line
5
6
7
1
7
3

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft, partly autograph (MS 33 2178)

Bar
4

Part
A

Stanza Line
2
4
4

9

Comment
B: second dotted minim:   (d' - e' )changed to  (d' ) in pencil (PaulHellmuth)
Comment
underholder emended to underholdet
as in B
B: alting instead of al Ting

58 “Har Haand du lagt paa Herrens Plov”

60 “Herren siger: Er I trætte”
pf./SATB
Text: N.F.S. Grundtvig
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy (MS 33 2098)

D

Sketch (MS 33 2099)

61 “Herrens Røst var over Vandet”
pf./SATB

pf./SATB

Text: N.F.S. Grundtvig

Text: N.F.S. Grundtvig

Dating: [1919]

Dating: [1919]

Sources

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft, partly autograph (MS 33 2095)

D

Sketch (MS 33 2233)

Bar
4

Part
B

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Sketch (MS 33 2100)

62 “Hvi vil du dig saá klage”
pf./SATB

Comment
B: note 1: A changed to d in pencil(Paul Hellmuth)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 436

Comment
B: alting instead of al Ting
mange emended to mange, as in B
Englesange emended to Englesange,
as in B

Text: N.F.S. Grundtvig
Dating: [1919]

436

22/02/09 8:32:11

Bar
8

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Sketch (MS 33 2100)

Bar
14

Part
T

14

B

Comment
B: note 1: c' changed to a in blue
crayon (Paul Hellmuth/compositor?)
B: note 1: c changed to A in blue
crayon (Paul Hellmuth/compositor?)

Part
A

Stanza Line
5
1
8
3
11
2

Comment
B: note 1: e' changed to c' in pencil
and blue crayon (Paul Hellmuth)
Comment
Jord emended to Jord, as in B
B: saà instead of saa
undfalde emended to undfalde? asin B

66 “Korsets Tegn og Korsets Ord”
pf./SATB
Text: N.F.S. Grundtvig
Dating: [1919]

63 “Jeg fandt en Trøst”
pf./SATB

Sources

Text: Vilhelm Birkedal
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, Paul Hellmuth (MS 33 2120)

64 “Jeg raaber fast, o Herre”
pf./SATBA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, Paul Hellmuth (MS 33 2174)

D

Draft (MS 33 2100)

E

Draft (MS 33 2173)

F

N.F.S. Grundtvig, Sang-Værk, Copenhagen 1951,
vol. 5

Bar
5

Part
B

7

T

9

A

Text: Steen Bille
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, partly autograph (MS 33 2129)

D

Draft (MS 33 2211)

65 “Jeg ved et lille Himmerig”

Stanza Line
6
4

Comment
B: second crotchet:(B-c)
changed to  (B) in pencil (PaulHellmuth)
B: note 1: b changed to g in indelible ink (Paul Hellmuth)
B: ﬁrst crotchet:(b - c' ) changed
to  (b) in pencil (Paul Hellmuth)
Comment
før emended to gør as in B and inaccordance with F

67 “Luk Øjne op, al Kristenhed”

pf./SATB

pf./SATB

Text: N.F.S. Grundtvig

Text: N.F.S. Grundtvig

Dating: [1919]

Dating: [1919]

Sources

Sources
1

A

Print (PR 9 )APrint (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, Paul Hellmuth (MS 33 2132)

C

Draft (MS 33 2178)

D

Draft (MS 33 2040)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 437

437

22/02/09 8:32:11

68 “Maria sad paa Hø og Straa”

70 “Naar jeg betænker Tid og Stund”

pf./SATB

pf./SATB

Text: N.F.S. Grundtvig

Text: Niels Pedersen

Dating: [1919]

Dating: 28.2.1914

Sources

SourcesA

Print (PR 91)

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, Paul Hellmuth (MS 33 2151)

C

Draft (MS 33 2226)

D

Draft (MS 33 2150)

E

Print (PR 92)

Bar
+1-1
1

Part
S
T

2

A

2

T

4

A

4

B

6

T

Stanza Line
11
3

Comment
E: Ma-ri-e
B: notes 1-2:  changed to   inpencil (Paul Hellmuth)
B: notes 1-2:  changed to   inpencil (Paul Hellmuth)
B: note 1:(c' - b) changed to b
and tie to previous bar crossed out
in pencil (Paul Hellmuth)
B: fourth crotchet:( f ' - g' )changed to  ( f ' ) in pencil (PaulHellmuth)
B: second crotchet:(G-B)
changed to  (G) in pencil (PaulHellmuth); E: notes 1-2: slur
B: fourth crotchet:(a-g) changed
to  (a) in pencil (Paul Hellmuth)
Comment
Saa emended to Saá; B: Saà

69 “Min Jesus, lad mit Hjerte faa”
pf./SATB

Bar
9

Part
B

11

A

11

T

11

B

Comment
B: notes 4-5:  (f - e) changed to  ( f - f ) in pencil (Paul Hellmuth)
B: note 2: f ' changed to f ' inpencil (Paul Hellmuth); fourth
crotchet:( f' - f' ) changed to  ( f' )in pencil (Paul Hellmuth)
B: ﬁrst crotchet:(b - c' ) changed
to  (b) in pencil (Paul Hellmuth)
B: fourth crotchet:(e - f ) changed
to  (a) in pencil (Paul Hellmuth)

71 “Nu Sol i Øst oprinder mild”
pf./SATB
Text: C.J. Brandt
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft, partly autograph (MS 33 2177)

D

Draft (MS 33 2226)

E

Draft/Sketch (MS 33 2049)

Text: anonymous
72 “O, havde jeg dog tusind Tunger”

Dating: [1919]

pf./SATB
Text: Hans Adolph Brorson

Sources

Dating: [1919]

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, partly autograph (MS 33 2153)

SourcesD

Sketch (MS 33 2099)

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy (MS 33 2168)

D

Fair copy, partly autograph (MS 33 2241)

E

Draft (MS 33 2169)

Stanza Line1
2
4
below 4

Comment
B: for changed to paa (CN)Gammel dansk emended to N.F.S.
Grundtvig

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 438

438

22/02/09 8:32:11

73 “O Helligaand! mit Hjerte”

75 “O Kristelighed”

pf./SATB

pf./SATB

Text: Hans Adolph Brorson

Text: N.F.S. Grundtvig

Dating: [1919]

Dating: [1919]

Sources

SourcesA

Print (PR 91)

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft, partly autograph (MS 33 2170)

C

Fair copy, partly autograph (MS 33 2059)

D

Sketch (MS 33 2098)

D

Draft (MS 33 2056)

Bar
1

Part
ATB

2

B

3

A

5

Comment
B: notes 1-2:   changed to  inblue crayon (CN)
B: ﬁrst crotchet:  (c-e) changed
to  (c) in blue crayon (CN)
B: note 1: f' with tie to previous
note crossed out and changed to e'
in blue crayon (CN); notes 1-2: changed to   in blue crayon (CN)
B: changed fromj& œœ . œ œ œœ

œœ

œ
œ

œ
œ

? œœ

9

S

13

A

13

T

œœ

in red and partly in blue crayon(CN)
B: notes 1-2:  changed to   inblue crayon (CN)
B: note 4: b changed to d' in pencil(Paul Hellmuth/CN)
B: note 3: a changed to d' in blue
and red crayon (CN?/Paul Hellmuth?)Stanza Line
55
7
5

Comment
B: skinner instead of skinner,
B: føle, instead of føler

76 “Op al den Ting, som Gud har gjort”
pf./SATB
Text: Hans Adolph Brorson
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, partly autograph (MS 33 2210)

D

Draft (MS 33 2170)

77 “Op, I Kristne, ruster eder”
pf./SATB
Text: Hans Adolph Brorson
Dating: [1919]
Sources

74 “O hør os, Herre, for din Død”
pf./SATB
Text: N.F.S. Grundtvig
Dating: [1919]

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft (MS 33 2098)

Bar

Part

Comment
collation with B not possible as
it consists of an entirely different
harmonisation

Stanza Line
6
2

Comment
stor emended to stor, in accordancewith B

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy (MS 33 2098)

D

Draft (MS 33 2099)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 439

439

22/02/09 8:32:12

Stanza Line
1
2
1
3
6
1

78 “O, sad jeg, som Maria sad”
pf./SATB
Text: Marie Wexelsen

Comment
ud, emended to ud;
Leje emended to Leje,
Steder emended to Steder, as in B

Dating: [1919]
80 “Som den gyldne Sol frembryder”
Sourcespf./SATBA

Print (PR 91)

Text: Thomas KingoB

Printing manuscript, autograph (MS 33 2189)

Dating: [1919]

C

Draft (MS 33 2006)

D

Draft, partly autograph (MS 33 2174)

SourcesE

Draft (MS 33 2173)

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft, partly autograph (MS 33 2040)

Bar
+1

Part
T

+1

B

3

T

5-6

T

6

S

8

T

8

B

11-12

T

Comment
B: note 1: g changed to b in blue
crayon (Paul Hellmuth)
B: note 1: B changed to G in blue
crayon (Paul Hellmuth)
B: notes 1-2:  changed to   inpencil (Paul Hellmuth)
B: tie added in pencil (Paul Hellmuth)
B: note 3: d ' changed to d' inpencil (Paul Hellmuth)
B: notes 1-2:  changed to   inpencil (Paul Hellmuth)
B: ﬁrst crotchet: (c) (d) changed
to  (a) in pencil (Paul Hellmuth)
B: tie added in pencil (Paul Hellmuth)

79 “Paa alle dine Veje”

Stanza Line
4
4
8
8

3
7

Comment
Usselhed; emended to Usselhed, as
in B
B: saà instead of saa
B: én instead of en

81 “Ton det, Himmel”
pf./SATB
Text: N.F.S. Grundtvig
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

pf./SATBC

Draft (MS 33 2173)

Text: N.F.S. Grundtvig

D

Fair copy, Paul Hellmuth (MS 33 2174)

Dating: [1919]

E

Draft (MS 33 2226)

Bar
5

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft, partly autograph (MS 33 2177)

D

Draft (MS 33 2178)

Bar
13-15

Part

CommentB:b œ œ& b b œ œ œœ œœ? bbbœœ œœ œ œ
œ

Part
T

Comment
B: third crotchet:(e - f ) changed
to  (e) in pencil (Paul Hellmuth)

Stanza Line
1
1
1
2
3
6

Commentsyng det Jord emended to syng det, Jord
Gud emended to Gud, as in B
det emended to de as in Salmebog
for Kirke og Hjem, Copenhagen 1911
B: saà instead of saa

5

˙
˙

œœ œ
œ

œœ œœ œœ œœ˙œ œ œœ œœœœ œ œ œœ œ œ

482 “Uforsagt, hvordan min Lykke”
pf./SATB
Text: Ambrosius Stub
Dating: [1919]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 440

440

22/02/09 8:32:12

20

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, partly autograph (MS 33 2095)

D

Draft (MS 33 2233)

B: note 1: d' changed to b  in pencil(Paul Hellmuth)

B

Stanza Line
2
4

Comment
ny, emended to ny; as in B

85 “Verdens Børn har mangt et Sted”
Bar
11

Part
S

Stanza Line
1
3

Comment
B: notes 3-4:   changed to 
pencil (CN)

pf./SATBin

Comment
just det emended to dog et as in B

83 “Under Korset stod med Smerte”
pf./SATB

Text: N.F.S. Grundtvig
Dating: [1919]
SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft (MS 33 2226)

Text: N.F.S. Grundtvig
Dating: 26.1.1914

Stanza Line
3
5

Comment
tidt emended to tit as in B

Sources
86 “Vor Herre, han er en Konge stor”

A

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

pf./SATB

Draft (MS 33 2234)

Text: N.F.S. Grundtvig

C

Dating: [1919]
84 “Utallige Blomster paa Jorderig gro”
pf./SATB

Sources

Text: N.F.S. Grundtvig

A

Print (PR 91)

Dating: [1919]

B

Printing manuscript, autograph (MS 33 2189)

C

Fair copy, partly autograph (MS 33 2241)

D

Draft (MS 33 2169)

SourcesA

Print (PR 91)

B

Printing manuscript, autograph (MS 33 2189)

C

Draft (MS 33 2100)

Bar
16-17

Part

CommentB:& b œœ
? b œœ
19

S

19

B

20

S

U

Part

Stanza Line15

˙œ # œ

Comment
B:  added in blue crayon (PaulHellmuth)
Comment
lever. emended to lever! as in B andby analogy with stanza 5 verse 5U˙˙

B: note 2: d' changed to e' in pencil(Paul Hellmuth)
B: second to third crotchet:   (A - G - F) in(B  - A) changed topencil (Paul Hellmuth)
B: note 1: g' changed to d' in pencil(Paul Hellmuth)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 441

Bar10

B I D R A G

T I L

D A N S K E

V I S E R

‘ E N

S N E S1 9 1 5 ’

The ﬁrst printed editions, En Snes Danske Viser 1915 and
En Snes Danske Viser 1917 (A) including Nielsen’s contributions, have been elected as copy text. In many
instances, Nielsen’s preliminary work shows signiﬁ-

441

22/02/09 8:32:13

cant differences in comparison to the ﬁnal version.

&

This is most likely because Nielsen’s collaborator Thomas Laub had many suggestions to Nielsen’s piano acearly versions the variants have not been documented

7
8

pf.2
voice

below; an example of how the composer worked with

8

pf.

8-10
11

pf.

companiments (see Preface, pp. 54-55). Regarding these

the piano accompaniments, however, may be studied
from the facsimiles of the manuscript of “Se dig ud
en Sommerdag” (106 Source B, see p. 158). A numberof printing errors and inaccuracies in the texts havebeen emended by consulting contemporary text editions and/or later versions of the same song in a dif-Dating: 28.12.1914
Other versions: 212 (pf.), 372 (unison song)gaard, 17.09.1916, in Breve, vol. 5, letter No. 424). These

voice, pf.

SourcesA

Print, ﬁrst edition (PR 10)

B

Draft (MS 33 2230)

C

Printed text, Steen Steensen Blicher, Samlede
Digte. Anden Deel, Copenhagen 1836, pp. 111-112

Text: Steen Steensen Blicher
Dating: 11.12.1914

Bar
6

Other versions: 173 (pf.)

A

Print, ﬁrst edition (PR 10)

B

Fair copy, autograph (MS 33 2186)

C

Printed text, Steen Steensen Blicher, Samlede

1
1
5-6

pf.
pf.
pf.

7

pf.1

Comment
stanza 1: Medgang emended toMedgangs as in 212 and C
A: after stanza 4: St. St. Blicher. (Af“Stambogsstykke.”)89 “I Skyggen vi vanke”
voice, pf.

Noveller 6te Deel, Randers 1844, p. 93
Part

Part
voice

9

SourcesBarvoice, pf.

1917-print (99-109), a letter from Nielsen explains in

87 “De Refsnæsdrenge, de Samsøepiger”



Text: Steen Steensen Blicher

detail the sources he used (see Nielsen to Thorvald Aa-

with the list of sources to each song.

in pencil
B: stacc.
stanza 2: rart! emended to rart? asin 173 and C
B: note 1: changed toinpencil (CN)B:
added in pencil (CN)
A: after stanza 4: St. St. Blicher. (af“Kjærlighed paa Dagvognen.”)88 “Ud gaar du nu paa Livets Vej”

ferent arrangement. Regarding the text sources to thetext sources are in all cases given below in connection# œj ‰ ŒœœComment
B: no tempo indications
B: poco instead of
B: chord 2: stacc.
B:





j
#
œ
& ‰ œœœ œœ ‰ œœœfpjœ ‰? # œœ
œZp‰ œœ œœ ‰ œœj
œ œ œ
fp
j
œ
œ ‰
œ
œ
Z
p

Text: Adam Oehlenschläger
Dating: [1914]
Other versions: 176 (pf.), 288 (SSAA, pf.), 350 (unison song)
SourcesA

Print, ﬁrst edition (PR 10)

B

Printed text, Adam Oehlenschläger, Udvalgte
Digterværker, ed. L. Stange, Copenhagen 1914,
vol. 1, p. 29

B:j#& ‰ œœ Œ
œ

Bar
1

Part
voice

Comment
stanza 4: Hans Urt emended to HansUrt by analogy with stanza 1 (b.5)

changed toCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 442

442

22/02/09 8:32:13

7

voice

14

voice

17

stanza 2: da sig emended to sig da
as in 176, 350 and B
stanza 1: comma after grøn addedby analogy with stanza 4
A: after stanza 4: Øhlenschläger.
“Pigernes Sang” (af “Sankt Hans-AftenSpil.”)

92 “Vender sig Lykken fra dig”
voice, pf.
Text: Carsten Hauch
Dating: 20.12.1914
Other versions: 168 (pf.)
Sources

90 “Underlige Aftenlufte!”
voice, pf.
Text: Adam Oehlenschläger
Dating: 15.12.1914

A

Print, ﬁrst edition (PR 10)

B

Draft (MS 33 2186)

C

Printed text, Carsten Hauch, Samlede Digte, Copenhagen 1891, vol. 1, pp. 221-222

Other versions: 163 (pf.), 309 (SATB), 345 (SSA)

Stanza Line2
2

SourcesA

Print, ﬁrst edition (PR 10)

B

Draft (MS 33 2104)

C

Score without text (MS 32 3022)

D

Printed text, Adam Oehlenschläger, Poetiske

5

Skrifter, ed. F.L. Liebenberg, Copenhagen 1860,Part
voice pf.2
pf.
pf.1

Stanza Line9belowline 8

A: C. Hauch. (“Trøst i Modgang.”)

93 “Vor Verden priser jeg tusindfold”
voice, pf.

vol. 19, pp. 261-263
Bar
8
11-15
11

below
line 4

Comment
om emended to naar as in 168
and C

Text: Poul Martin Møller

Comment
B: second minim: 
B: see facsimile, p. 157
C: note 2: a '
Comment
A: Øhlenschläger. (“Hjemve.”)

Dating: 19.12.1914
SourcesA

Print, ﬁrst edition (PR 10)

B

Draft (MS 33 2242)

C

Score without text (MS 32 3022)

D

Printed text, Poul Martin Møller, Udvalgte Skrifter,ed. Vilhelm Andersen, Copenhagen 1895, vol. 1,

91 “Naar Odin vinker”

pp. 99-100

voice, pf.
Text: Adam Oehlenschläger
Dating: 17.12.1914

Bar
10-11

Part
pf.

SourcesA

Print, ﬁrst edition (PR 10)

B

Score without text (MS 32 3022)

C

Printed text, Adam Oehlenschläger, Halvhundrede
Digte, ed. F.L. Liebenberg, Copenhagen 1902, pp.
3-4

Bar
11

pf.

##
& # # ˙˙ ..

Œ ‰ œœj ‰ ‰œ? ## ## ˙˙ ..

Œ ‰ œj ‰ ‰C: brackets around note 1

94 “Rosen blusser alt i Danas Have”
voice, pf.

Part
pf.2

Text: Poul Martin Møller

Comment
chord 3: lower part: B' emended
to G'

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 443

11Commtent
B:

Dating: 11.12.1914
Other versions: 164 (pf.), 335 (SA)443

22/02/09 8:32:14

Stanza Line
8
4

SourcesA

Print, ﬁrst edition (PR 10)

B

Fair copy, printing manuscript, autograph(MS 33 2187)

96 “Farvel, min velsignede Fødeby!”
voice, pf.

C

Draft, early version (MS 33 2188)

D

Score without text (MS 32 3022)

E

Printed text, Poul Martin Møller, Udvalgte Skrifter,

Text: Poul Martin Møller
Dating: 12.12.1914
Other versions: 174 (pf.), 371 (SA)ed. Vilhelm Andersen, Copenhagen 1895, vol. 1,
pp. 96-98
Bar

Part

3

voice

6

voice

9

pf.2

5
5
12

SourcesComment
C: notated in F majorstanza 1: nu emended to vist as in
164, 335 and E
stanza 1: Hingste emended toHingsten as in 164, 335 and E
B: fourth crotchet:A

Print, ﬁrst edition (PR 10)

B

Manuscript copy (MS 32 3016)

C

Printed text, Poul Martin Møller, Udvalgte Skrifter,ed. Vilhelm Andersen, Copenhagen 1895, vol. 1,
pp. 92-94



Stanza Line
3
5

Comment
Fødeland. emended to Fødeland? asin Ecomma added as in 164, 335 and E
E: forsikre instead of forsikrer
last comma added as in 164, 335
and E

2, 5
3
3

95 “Sov ind mit søde Nusseben!”voice, pf.

Bar

Part

2
3
4

pf.2
pf.2
pf.2

5

voice

6
8

voice

Stanza Line
2
2

Text: Poul Martin Møller
Dating: 18.12.1914
SourcesA

Print, ﬁrst edition (PR 10)

B

Draft (MS 33 2242)

C

Draft without text (unison song) (MS Ext. 2)

DPrinted text, Poul Martin Møller, Udvalgte Skrifter,ed. Vilhelm Andersen, Copenhagen 1895, vol. 1,

6

1

6

4

8

4

Part
voice
voice

1-6

pf.2

5-6

pf.1

Comment
Gildeskrus emended to Gildekrus asin 174, 371 and C
Top emended to Tap as in 174, 371
and C
fra emended to for as in 174, 371
and B, Cos emended to øs as in 174, 371
and B, Cvoice, pf.
Text: Jeppe Aakjær

Comment
comma added as in B, D
stanza 1: lille emended to søde as inB, DB:?b œ Œ œ œ Œ œ œ Œ œ œ œ Œ œ Œ œ œ Œ œstacc. added by analogy with bb.1-2

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 444

Comment
B: stanza 4 omitted
B: note 4: stacc.
B: note 1: stacc.
second crotchet:emended toas in Bstanza 1: Fader emended to Faders
as in 174, 371 and B, C
stanza 1: paa emended to i as in C
B: ﬁrst quaver: rall.

97 “Jeg bærer med Smil min Byrde”

pp. 106-107
Bar
1
1

Comment
D: gaa instead of gaar

Dating: 20.12.1914
Other versions: 166 (pf.), 310 (SATB)
SourcesA

Print, ﬁrst edition (PR 10)

B

Draft (MS 33 2186)

C

Draft (MS 332104)

D

Score without text (MS 32 3022)

444

22/02/09 8:32:14

E

Bar
7

Printed text, Jeppe Aakjær, Samlede Digte, Copen-B I D R A G

T I L

hagen 1912, vol. 2, pp. 59-60

D A N S K E

V I S E R

Part
pf.1

Stanza Line
3
3
4
2
5
4
5
below
line 4

CommentB:‘ E N

S N E S1 9 17 ’

99 “Nu er da Vaaren kommen”
voice, pf.

##& # # Œ œj œ .
œ œJComment
A: footnote to Arker: Fjerskyer
langt emended to lang as in E
A: footnote to dynker: stænker
A: Jeppe Aakjær. “Sundt Blod” (Af“Rugens Sange.”)

Text: Adam Oehlenschläger
Dating: 13.07.1916
SourcesA

Print, ﬁrst edition (PR 11)

B

Draft (MS 33 2108)

C

Printed text, Adam Oehlenschläger, Halvhundrede
Digte, ed. F.L. Liebenberg, Copenhagen 1902,
pp. 74-75; Nielsen indicates himself that the text
source is Adam Oehlenschläger, Poetiske Skrifter,

98 “Nu er Dagen fuld af Sang”
voice, pf.

ed. F.L. Liebenberg, Copenhagen 1860, vol. 19, pp.

Text: Jeppe Aakjær

100-102 (see p. 442). The discrepancies between

Dating: 22.12.1914

the 1860- and 1902-editions reveal, however, that

Other versions: 170 (pf.), 349 (SSA)

the latter must have been Nielsen’s copy text.

SourcesA

Print, ﬁrst edition (PR 10)

B

Fair copy (MS 33 2161)

C

Draft (MS 33 2186)

D

Manuscript copy without text, (MS 33 2162)

E

Score without text (MS 32 3022)

F

Printed text, Jeppe Aakjær, Samlede Digte, Copenhagen 1912, vol. 2, pp. 111-112

Bar

Part

4

pf.1

5

voice

Stanza Line
2
3
4
5

4
below
line 7

Comment
D: notated in F major
lower part: stacc. and slur addedby analogy with the other parts
E: note 2: g'
Comment
Søndenvinden emended to Søndenvinde as in F
tar emended to ta’r as in 170 and F
A, B: Jeppe Aakjær. “Paa Vaarengen.”(En Flok Landsbypiger plukker Blomster og synger.)

Bar
10

Part
voice

11

pf.1

15

voice

Stanza Line
7
3
7
below
line 8Comment
nysudsprungen emended to nysudsprungne as in B, C
upper part: tie added by analogy
with b.13, 14, 19
stanza 1: Bølger emended to Voveras in C
Comment
Klage emended to Kloge as in C
A: Øhlenschläger. (“Vaarsang.”)

100 “Hvor sødt i Sommeraftenstunden”
voice, pf.
Text: Adam Oehlenschläger
Dating: 11.07.1916
SourcesA

Print, ﬁrst edition (PR 11)

B

Draft (MS 33 2108)

C

Printed text, Adam Oehlenschläger, Poetiske
Skrifter, ed. F.L. Liebenberg, Copenhagen 1860,
vol. 19, pp. 175-176

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 445

445

22/02/09 8:32:15

Bar
4

Part
voice

Comment
stanza 1: snart emended to mat asin B, CC

Draft (MS 33 2155)

D

Printed text, H.C. Andersen, Samlede Skrifter,
Copenhagen 1879, vol. 12, p. 228

Stanza Line
6
1
6
below
line 6

Comment
Ja emended to O as in C

Bar

Part

j U
j
œ
# # 6 œ œœ œœ œœœ& 8 J œ J

A: Øhlenschläger. (Aftensang af “Langelandsrejsen”.)U#& # 68 œj œ j œ
œ101 “Tidt er jeg glad, og vil dog gerne græde”
voice, pf.
Text: B.S. Ingemann
Dating: [1916-1917]
SourcesA

Print, ﬁrst edition (PR 11)

B

Fair copy (MS 33 2220)

C

Draft without text (MS 33 2221)

D

Printed text, A.P. Berggreen, Compositioner forE

Comment
C: addition designated Forspil

1
3
9
10-11

pf.
pf.2
pf.
voice

11
11

voice


z




B: instead ofB, C: note 3: f '
B:
instead ofstanza 2: alene emended to alene! asin B, D
B: poco rall.
stanza 3: ene emended to ene! as in D

103 “Hun mig har glemt! min Sorg hun ej see!”

Sang og Claveer, Copenhagen 1872, vol. I, 2, p. 23

voice, pf.

Text, stanzas 2-5, Nielsen’s manuscript copy in a

Text: H.C. Andersen

letter addressed to Thorvald Aagaard, 20.07.1916,

Dating: [1916-1917]

Breve, vol. 5, letter No. 379
F

Text, Nielsen’s manuscript copy in a letter ad-

A

Print, ﬁrst edition (PR 11)

vol. 5, letter No. 424

B

Draft (MS 33 2146)

C

Printed text, H.C. Andersen, Samlede Skrifter,

Bar
1

Part

2

voice

Stanza Line
2
3
5

Sourcesdressed to Thorvald Aagaard, 17.09.1916, Breve,

2

Comment
B: Inderlig bevæget instead of Inderligt
stanza 1: semicolon added as inD, FComment
comma emended to dash as in D,
E, F
comma added as in D, F

Copenhagen 1879, vol. 12, pp. 219-220
Bar
3
4

Part
pf.1
pf.1

Comment
B: chord 4: f' , c'' , f''
B: second crotchet:

5
5
6
11

voice
voice
pf.1

stanza 3: vi emended to jeg as in C
B: opfarende instead of urolig bevæget
B: chord 1: a' instead of g'
A: after stanza 4: H.C. Andersen.
(“Langelandsk Vise.”)102 “Min lille Fugl, hvor ﬂyver du”& œœœ œvoice, pf.
Text: H.C. Andersen

104 “Højt ligger paa Marken den hvide Sne”

Dating: [1916-1917]

voice, pf.
Text: H.C. Andersen

SourcesA

Print, ﬁrst edition (PR 11)

B

Fair copy (MS 33 2154)

Dating: [1916-1917]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 446

446

22/02/09 8:32:15

Sources

SourcesA

Print, ﬁrst edition (PR 11)

A

Print, ﬁrst edition (PR 11)

B

Sketch (MS 33 2146)

B

Fair copy (MS 33 2195), see facsimile, p. 158

C

Sketch (MS 33 2188)

C

Draft, early version (MS 33 2188)

D

Printed text, H.C. Andersen, Samlede Skrifter,

D

Sketch (MS 33 2186)

Copenhagen 1879, vol. 12, pp. 270-271

E

Printed text, Jeppe Aakjær, Samlede Digte, Copenhagen 1912, vol. 2, pp. 131-132 (Nielsen does not

Bar
10
13

Part
voice
voice

Comment
B:
B:  

mention this edition as text source)F

Printed text, Dansk Sangbog, ed. Johan Borup,
Copenhagen 1914, pp. 94-95

Stanza Line
3
3
4
4
7
below
line 4

Comment
Sky’ emended to Sky as in D
quotation mark added as in D

Bar
2

Part
voice

A: H.C. Andersen. (“Snedronningen.”)

5

voice

5

voice

9

voice

105 “Nu springer Vaaren fra sin Seng”
voice, pf.
Text: Viggo Stuckenberg
Dating: 30.12.1914

Stanza Line
2
4

Other versions: 171 (pf.)
SourcesA

Print, ﬁrst edition (PR 11)

B

Draft (MS 33 2188)

C

Printed text, Viggo Stuckenberg, Samlede Værker,

4

1

4

3

4

5

4

6

4

8

5

4

5

below
line 8

Copenhagen 1910, vol. 2, pp. 250-252 (Nielsen
does not mention this edition as text source)D

Printed text, Dansk Sangbog, ed. Johan Borup,
Copenhagen 1914, pp. 234-235

Bar
5

Part
voice

Stanza Line
3
1
4
2
5

below
line 4

Comment
B: note 4: c''Comment
blaa emended to Blaa as in C, DLærkesang emended to Lærke sangas in 171 and C, D

Comment
stanza 1: comma emended tocolon as in 338 and E
stanza 1: comma added as in 175,
338 and E
A: stanza 1: explanatory footnote:
Blost: Blomst
stanza 1: Gaarde. emended toGaarde! as in 338 and E
Commentog emended to som as in 175, 338
and E, F
comma added as in 175, 338 andE, F
comma added as in 175, 338 andE, FKøer emended to Kø’r as in 338
and E
comma emended to semicolon as
in 175, 338 and E, F
Skumringsgnister emended to Skumrings-Gnister as in 338 and E, F
full stop emended to colon as in
175, 338 and E
A: Jeppe Aakjær. (“Fri Felt.”)

107 “Der dukker af Disen min Fædrenejord”
voice, pf.
Text: Jeppe Aakjær

A: Viggo Stuckenberg. (“Første Maj.”)

Dating: 25.12.1914
Other versions: 205 (pf.), 344 (SA)106 “Se dig ud en Sommerdag”
voice, pf.

Sources

Text: Jeppe Aakjær

A

Print, ﬁrst edition (PR 11)

Dating: 24.12.1914

B

Sketch (MS 33 2230)

Other versions: 175 (pf.), 338 (SA)Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 447

447

22/02/09 8:32:16

C

Printed text, Jeppe Aakjær, Samlede Digte, Copenhagen 1912, vol. 1, pp. 53-56 (Nielsen does not
mention this edition as text source)D

Stanza Line
6
1
6

Printed text, Dansk Sangbog, ed. Johan Borup,

below
line 4

Comment
engang emended to en Dag as in B,
D, E
A: Jeppe Aakjær. (“Svalen.”)

Copenhagen 1914, pp. 120-121
109 “Der boede en Mand i Ribe By”
Bar
3

Part
voice

6

voice

6

voice

11

voice

12

voice

15
16

voice
below
line 8Comment
stanza 2: tar emended to ta’r as in
205, 344 and C
stanza 3: mod emended to med asin 205, 344 and C, D
stanza 4: Liv emended to Siv as in
205, 344 and C, D
stanza 1: sjælden emended tosjældent as in 205 and C
stanza 1: mens emended to men as
in 205, 344 and C
B: notes 4-6: 
A: after stanza 4: Jeppe Aakjær. (Af:
“Jylland. Fri Felt.”)

voice, pf.
Text: anonymous (old Danish jest song)
Dating: [1916-1917]
SourcesA

Print, ﬁrst edition (PR 11)

B

Sketch (MS 33 2195)

C

Printed text, Danske Folkeviser i Udvalg, ed. Axel Olrik& Ida Falbe-Hansen, Copenhagen 1899, pp. 165-166

Bar
10

Part
pf.

10

pf.

108 “Hør, hvor let dens Vinger smækker”

Comment
last quaver:  emended to becauseof upbeat to b.1
 moved from last quaver by analogy with voice

voice, pf.
Text: Jeppe Aakjær
Dating: 23.12.1914

Stanza Line10
belowline 5

Comment
A: Gl. Dansk Skæmtevise.

F R A

SourcesA

Print, ﬁrst edition (PR 11)

T O

BFair copy (MS 33 2214)

G R O S S E R E R - S O C I E T E T E T S

CDraft (MS 33 2186)

H U N D R E D A A R S F E S T,

D

Printed text, Jeppe Aakjær, Samlede Digte, Copen-E

S A N G E

K A N T A T E
O P.

T I L
3 1

hagen 1912, vol. 1, pp. 47-48 (Nielsen does not

The two editions, PR 121 and PR 122, have been elected

mention this edition as text source)

as copy text; both piano versions were composed in

Printed text, Dansk Sangbog, ed. Johan Borup,

1917. Nielsen composed the melody of 111 in 1916 for

Copenhagen 1914, pp. 60-61

the Prologue Shakespeare as a ﬁnal movement for choir

Bar
1

Part

1
4

pf.
pf.

Comment
B: Let og yndefuldt instead of Fint og
let
B: instead of
B:





#
& ‰ œj œœ>? # œ ‰ >œ œ œJ

110 Købmands-Vise (“En Købmand, han staar bøjet”)
voice, pf.
Text: Valdemar Rørdam

~~Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 448

and orchestra with the text “Hæder til digtets Drot”.

Dating: [1917]
SourcesA

Print, ﬁrst edition (PR 121)

B

Printing manuscript, autograph (MS 33 2292)

C

Sketch (MS 33 2110)

448

22/02/09 8:32:16

Bar

Part

1
2
9

pf.1
pf.1
pf.2

10
10
12II

voice
pf.
pf.

Comment
B: notated in D major
B: notes 5-7: slurnote 3: stacc. as in B
notes 1-3: stacc. added by analogy
with b.5
B: note 5: stacc.
B: fourth crotchet:added by analogy with b.12I

z



T R E

S A N G E

E L L E R

F R A

D E N

L A M P E ’ ,‘A L A D D I N

F O R U N D E R L I G E

O P.

3 4

The printed edition of the three songs, published inconnection with the theatre performance of the play,
has been elected as copy text. Only a few printing
errors have been emended. The present fair copy,

Stanza Line
2
1

Comment
Til emended to Tit as in B

111 Hymne til Danmark (“Danmark, i tusend Aar”)
voice, pf.

MS 32 3079, is the director’s copy of the theatre version and has not been employed in connection withthe present revision.
112 “Cithar! lad min Bøn dig røre”

Text: Valdemar Rørdam

voice, pf.

Dating: [1917]

Text: Adam Oehlenschläger

Other versions: 361 (unison song), 390 (SA)
SourcesA

Print, ﬁrst edition (PR 122)

B

Printing manuscript, autograph (MS 33 2109)

C

Draft (pf.) (MS 33 2110)

Bar

Part

2
4

pf.2
pf.1

4

pf.2

8
9
10

pf.1
pf.2
pf.2

16
16

pf.1
pf.2

17
18
19
24

pf.1
pf.
pf.1
pf.2

32
36

pf.2
pf.1

38

pf.2

40

pf.2

Comment
B: music for one stanza with text
for all three stanzas; C: notatedin pf.
C: chords 2-3: only b - a
fourth crotchet: c ' emended to b
as in B, C
chords 1-3: ten. added by analogy
with pf.1
C: chord 1: e' , g ' , c ''
C: chords 1-3: only a , g , f chord 1: ten. added by analogy
with b.1 to b.8 chord 1, b.9
ten. added by analogy with b.2
chord 1: ten. added by analogy
with b.2
ten. added by analogy with b.3
ten. added by analogy with b.4
ten. added by analogy with b.5
ten. added by analogy with b.15 tob.22 chord 1, b.23
ten. added by analogy with bb.4, 18
chord 3: ten. added by analogy
with bb.8, 22
ten. added by analogy with b.29 tob.36 chord 1, b.37
chords 2-3: ten. added by analogy
with bb.12, 26

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 449

Dating: [1918-1919]
SourcesA

Print (PR 13)

Bar
1

Part
pf.

10

pf.2

Comment
brackets around spinkelt klingende
omittedchord 5 bottom note: e emended
to c by analogy with b.11

113 “Visselulle nu, Barnlil!”voice, pf.
Text: Adam Oehlenschläger
Dating: 1918
SourcesA

Print (PR 13)

B

Fair copy, autograph (MS Ext. 36)

Bar
1-2
9

Part
pf.

10

voice

11I
11I

pf.
pf.1

Comment
B: only one bar, pf.1:  (e' ), pf.2: Dun emended to Duun as in stanza
8poco rall. added by analogy withpf.
B:  instead of  chord 1: b emended to b ; gemended to g 

449

22/02/09 8:32:17

116 “Udrundne er de gamle Dage”

114 “Alt Maanen oprejst staar”
voice, pf.

pf.

Text: Adam Oehlenschläger

Text: N.F.S. Grundtvig.

Dating: [1918-1919]

Dating: 1917
Other versions: 140 (pf.), 147 (pf.), 312 (SATB), 359(unison song)

SourcesA

Print (PR 13)

Bar
3-4

Part
voice

6

voice pf.

6

pf.1

7

pf.1

7

pf.1

8

pf.1

Sources

10II

T O

Comment
kan visne emended to kun visner inaccordance with CNU I/1, p. 201
added by analogy with b.4
chords 3-4 top notes: tie added byanalogy with b.4
chord 2 top note: c'' emended to c ''by analogy with voice
end of slur emended from chord
7 to last quaver by analogy withbb.4, 5, 9
chord 1 top note: g' emended to g '
by analogy with voice
b.10II added because of text ofstanza 4

A A N D E L I G E

S A N G E

The songs, 115-116, were printed with the common
1title To Aandelige Sange in Nordens Musik, 1919 (PR 14 );
116, however, was published already in 1917 in
Højskolebladet (PR 92). The manuscript to 116, MS 33

AI Print (PR 141)AII Print (142)
AIII Print, identical with AI (MS 32 3063)
B

Fair copy, autograph (MS 33 2246)

Bar

Part

16

pf.1

16

pf.1

16
16
17

pf.2
pf.2
pf.

“Fire folkelige Melodier / til de danske Højskoler”;

Stanza Line2
4
3
5

however, this has been cancelled with the comment

3

2246, is placed in a gathering with songs meant for6“solgt til Nordens Musik.” (“sold to Nordens Musik”).

Comment
AI: Udsættelsen af begge Melodier kan
benyttes som den er ogsaa til ﬁrestemmigt blandet Kor, men isaafald Nr. II
en Tone højere ‘The arrangement ofboth melodies may be used as it isalso for a four-part mixed choir, butthen No. II [should be set] a wholetone higher’ below the ﬁnal system
AII: Med værdig fasthed. ‘With digniﬁed ﬁrmness.’
AII: lower part notes 1-2: e ' insteadof c'
B: lower part note 2: e ' changed toc' in ink (CN)AII: upper part notes 1-2: b  - c'
AII:  (d)  (c)  ( f )B: ﬁnal bar line: Comment
B: ædel Slægt instead of ædel SjælB: og Verden changed til og Graven
in ink (CN)han emended to kan in accordancewith BFor both songs, PR 141 has been elected as copy text
and collated with the other sources.
O T T E
115 “Den store Mester kommer!”pf.

S A N G E

R O D E S
O P.

F R A

S K U E S P I L

H E L G E
‘ M O D E R E N ’ ,41

Text: B. S. Ingemann
Dating: [1919]

The sources for the eight songs include an auto-

Other versions: 130 (pf.), 145 (pf.)

graph fair copy (C), a partly autograph printing
manuscript (B) and a printed piano score (A). In

SourcesA

addition, a manuscript kept at the Royal Theatre

Print, ﬁrst edition (PR 141)

has survived comprising 119, 120 and 123; since
it is a manuscript copy it has not been used in theCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 450

450

22/02/09 8:32:17

present edition. The earliest source is the autograph

Sources(C) employed at rehearsals. As the publishers wishedA

Print, ﬁrst edition (PR 15)

to begin the printing before the premiere in Janu-B

Fair copy, partly autograph (MS 32 3061)

ary 1921, Nielsen had a copy made from the fair

C

Fair copy, autograph (MS 33 3055)

copy and added a piano score of “Som en rejselysten
Flaade” which in the play was arranged for choir

Bar

Part

1
8

voice
pf.1

11

pf.1

and orchestra; he also made a few changes in B. The
printed edition (A) has been elected as copy text forthe present edition.
117 “Vildt gaar Storm mod sorte Vande”
voice, pf.
Text: Helge Rode
Dating: [1920]
Sources

119 “Dengang Ørnen var ﬂyveklar”

APrint, ﬁrst edition (PR 15)

B

Fair copy, partly autograph (MS 32 3061)

C

Fair copy, autograph (MS 33 3055)

Bar

Part

1
2
4

voice
voice
pf.1

5-6
6-7
10

pf.2
pf.2
voice

10
10, 11

pf.
pf.1

11

pf.1

13

pf.2

14

pf.

Comment
original number: II(Skjalden) omitted
C: note 1: (rhythmic error)
B: chords 3-4: g' changed to a' inpencil
C: b.5 note 4 to b.6 note 1: slur
C: b.6 note 2 to b.7 note 1: slur
C: note 5: corrected to in red
crayon
B: added (CN)
C: second crotchet (d' ): added inpencil
B: second crotchet lower part (d' ):added (CN); third crotchet: e' , g'changed to c' , e' in pencil; C: third
crotchet: e' , g'd '' emended to d'' by analogy with
pf.1
added as in B (chord 2), C(chord 3)voice, pf.
Text: Helge Rode
Dating: [1920]
SourcesA

Print, ﬁrst edition (PR 15)

B

Fair copy, partly autograph (MS 32 3061)

C

Fair copy, autograph (MS 33 3055)

Bar

Part

1
8
9

voice
pf.2
voice

19
20I,
20II-21II pf.
21II



118 “Min Pige er saa lys som Rav”
voice, pf.

Comment
original number: IV(Narren) omitted
C: chord 4: stacc.
C: note 4: corrected to  in red
crayon (rhythmic error)
B: after b.19: double bar line
marc. added by analogy with b.19
B: following the music: * Til Stikkeren! Gentagelsesﬁgurer maa naturligvis
stikkes ud ‘*To the compositor! The
repetition markings must of course
be engraved in full’ added in pencil(CN); * refers to b.2: se nedenfor ‘* see
below’ added in pencil (CN)

120 “Ved Festen ﬁk en Moder Bud”

Text: Helge Rodevoice, pf.

Dating: [1920]

Text: Helge Rode

Other versions: 392 (SA)

Dating: [1920]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 451

Comment
original number: III; the orchestral version notated with a repetition mark between b.1 and b.2 andwith two voltas; see CNU I/9(Skjalden) omitted
C: lower part chord 2:  ; lower partsixth quaver: (c' )lower part b - b : tie added by analogy with pf.2; B: lower part chord
2: e, g  changed to g , b in pencil; C:
lower part chord 2: e, g 451

22/02/09 8:32:18

SourcesA

Print, ﬁrst edition (PR 15)

B

Fair copy, partly autograph (MS 32 3061)

C

Fair copy, autograph (MS 33 3055)

Bar

Part

1
2-3

voice

2-6

pf.2

7

voice

8-10

pf.1

8-11

pf.1

8-11

pf.2

15II
15II

voice

15II

voice pf.

8

Comment
original number: V(Narren) omitted
B, C (stanza 3): gærne valgte insteadof valgte helst mig
slur emended from open slur as in
C; A: b.4: end of slur open (changeof system)
B, C (stanza 3): male Sorg instead ofmales trist
upper part: slur added as in C; B:
b.9: end of slur open (change ofsystem)lower part: slur added as in C; B:
b.9: end of slur open (change ofsystem)end of slur b.9 emended to b.11
as in C; B: b.9: end of slur open(change of system) added at the bar line as in B, C
B: instead of note 1 a chord:b , d' , g' ; C: rød added in red crayon(CN?)
C: rests added in red crayon (CN?)

voice

9

122 “Saa bittert var mit Hjerte”
voice, pf.
Text: Helge Rode
Dating: [1920]
SourcesA

Print, ﬁrst edition (PR 15)

B

Fair copy, partly autograph (MS 32 3061)

C

Fair copy, autograph (MS 33 3055)

Bar

Part

1
9

voice
voice

13-14

pf.

17

pf.1

19

voice pf.1

21

pf.1

121 “Tidselhøsten tegner godt”
voice, pf.
Text: Helge Rode
Dating: [1920]
SourcesA

Print, ﬁrst edition (PR 15)

B

Fair copy, partly autograph (MS 32 3061)

C

Fair copy, autograph (MS 33 3055)

Bar

Part

1
4-6

voice
pf.1

4-6

pf.2

24

Comment
original number: VI(Skjalden) omitted
lower part: b.4 chord 2 to b.6 note
1: slur added as in C; upper part:b.4 chord 2 to b.6 note 1: slur
added as in C; B: b.4 chord 2: endof slur open (change of system)
upper part: b.4 chord 2 to b.6 note
1: slur added; B, C: b.4: end of slur
open (change of system); C: b.4

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 452

lower part note 2: end of slur open(change of system)
B, C (stanza 2): lammet instead ofvanfør added at the bar line as in C

Comment
original number: VIII; the orchestral version notated with repetition mark between b.2 and b.3 andwith two voltas; see CNU I/9(Skjalden) omitted
B, C (stanza 2): klaged de med
instead of gaar hen over
C: b.13 second minim to b.14
fourth crotchet:upper part notes 1-4: slur (notes
1-4) and ten. (notes 3-4) emended
as in B; B: upper part notes 1-4:
ten. (notes 1-4) changed to slur
(CN); C: upper part notes 1-4:
only ten.; lower part chord 2: a '
instead of a'a ' emended to a' as in the orchestral version, see CNU I/9
chord 1: e' , g' , b ' emended to e' , g' , c''
as in B, C
 added at the bar line as in B, C

123 “Dengang Døden var i Vente”
voice, pf.
Text: Helge Rode
Dating: [1920]
SourcesA

Print, ﬁrst edition (PR 15)

B

Fair copy, partly autograph (MS 32 3061)

C

Fair copy, autograph (MS 33 3055)

452

22/02/09 8:32:18

Bar

Part

1
4
11

voice
pf.
pf.2

16II
18II
18II
19II

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

Comment
original number: IX(Narren) omitted
C: notes 5-8:
stacc. added by analogy withbb.5-10
B: notes 1-2: marc. added in ink (CN)B, C: note 1: b ' ; note 5: e'
B, C: note 1: B ; note 5: E
B: notes 1-2: marc. added in ink (CN)124 “Som en rejselysten Flaade”

19

pf.

19

pf.1

20

pf.1

21
23

voice

T Y V E

cresc. moved from b.20 chord 1 byanalogy with the voice; B: fromb.19: cre-scen-do
lower part notes 1-2: ten. added byanalogy with pf.2
lower part notes 1-2: ten. added byanalogy with pf.2
note 1: added by analogy with pf.
 added at the bar line as in BF O L K E L I G E

M E L O D I E R

voice, pf.
Text: Helge Rode

The ﬁrst printed edition of 1921 (A) has been elected

Dating: [1920]

as copy text. This has been collated with the printing

Other versions: 177 (pf.), 306 (SATB), 342 (SSA)

manuscript (B) of which Knud Jeppesen read a second proof (see letter from Nielsen to Jeppesen, 9 No-

Sourcesvember 1921). In addition, fair copies for and drafts

A

Print, ﬁrst edition (PR 15)

of some of the songs have survived. Regarding 138, B

B

Fair copy, partly autograph (MS 32 3061)

contains dynamics which have not been included in

Bar

Part

2

voice

2-23

voice

3

voice

7

voice

10-11

voice

10

pf.1

12
14

pf.1
voice

17-20

voice

Comment
original number: XIIIB (stanza 3): stanza’s number
changed from 4 to 3 in pencil
B: stanza 4 with ﬁrst line Vinterklart
og sommerbroget missing; stanza’s
number changed from 5 to 4 inpencil:Om vor Frihed vil vi værne,Mænd ved Pen og Plov og Mast,hærde Skallen om vor Kærne.
Venlig Haand skal være fast.
Indaand Nordens frie Luft,
Stilhed sød af Blomsterduft,Blæst, som Søen salter.
Og lad hver med trofast Sindsætte al sin Gerning ind,Danmark, paa dit Alter
B (stanza 1): blomstersmykket insteadof rejselysten
B (stanza 1): Sommerhimlens insteadof Vejrs og Vindes
B (stanza 1): Hav gaar ind instead ofHaardt gaar Hav
chord 2: ten. added as in B and byanalogy with pf.2
B: chord 1: ten.
emended to as in B
note 2:and by analogy with pf.
B: stanza 3: Loven for de danskes
Æt være Billighed og Ret instead of
Danskens Lov i Strid og Fred være Ret
og BillighedCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 453

A, and Jeppe Aakjær’s fair copy of the poem has been
inserted. Concerning 138 and 139 Aakjær’s spellinghas been retained in A and hence also in the present
edition. There are only few variants between sources
A and B in terms of punctuation.
125 “På det jævne, på det jævne”
pf.
Text: H.V. Kaalund
Dating: [1921]
Other versions: 156 (pf.), 363 (SSA)
SourcesA

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

C

Fair copy, autograph (MS 33 2179)

Bar

Part

3
5-6
8
10
11
12
13

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

14-15

Comment
A: H.V. Kaalund (fra “En Eftervaar”,
1877)
C: chord 2: c' ( ), e' , g' ( )C: no tie
B: notes 1-3: slur erased; C: no slur
C: upper part: no note
C: chord 1: A
C: a
C: lower part: ﬁrst to second
crotchet:  
C: no tie

453

22/02/09 8:32:18

126 “Derfor kan vort øje glædes”

129 “Jord, i hvis favn”

voice, pf.

pf.

Text: Christian Richardt

Text: Christian Richardt

Dating: [1921]

Dating: [1921]

Other versions: 151 (pf.)

Other versions: 149 (pf.)

Sources

Sources
1

A

Print, ﬁrst edition (PR 16 )A

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

B

Printing manuscript, autograph (MS 32 3063)

C

Fair copy, autograph (MS 32 3015)

Bar

Part

Stanza Line
2
3

Comment
A: Chr. Richardt (“Tekster og toner”, 1868)
Commentskøn fordi emended to skøn, fordi

127 “Jeg så kun tilbage”

Bar
1-2
10

Part
pf.2
pf.2

Stanza Line
3
1
3

5

voice, pf.

Comment
B: no tieslur added as in B and by analogy
with A
Comment
vor Lykke emended to vor lykke as
in B
hvor vældig emended to hvormægtigt in accordance with 149

Text: B.S. Ingemann130 ➤ 115

Dating: [1921]
Other versions: 150 (pf.)

131 “Der sad en ﬁsker så tankefuld”
pf.

SourcesA

Print, ﬁrst edition (PR 161)

Text: N.F.S. Grundtvig

B

Printing manuscript, autograph (MS 32 3063)

Dating: [1921]
Other versions: 159 (pf.)

Bar
7-8
12

Part
voice
voice

Stanza Line
2
4

Comment
en-sang emended to en sang as in Battrår emended to attrår,Comment
B: fuld karsk instead of fuldkarsk

128 “Morgendug, der sagte bæver”
pf.
Text: Carsten Hauch

SourcesA

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

C

Printed score (PR 163)

Bar
8

Part
voice

Stanza Line4
3

Dating: [1921]
Other versions: 162 (pf.), 337 (SA)5

3

SourcesA

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

Bar
16

Part

Comment
sa-le, emended to sa-le; as in B
Comment
nikked og emended to nikked, og as
in B
B: og sagde, Herre instead of og
sagde: Herre132 St. St. Blicher (“Hedelærken, den liden fugl”)
pf.
Text: Carl Ploug

Comment
B: second crotchet: (rall)

Dating: [1921]
Other versions: 161 (pf.)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 454

454

22/02/09 8:32:19

Sources

SourcesA

Print, ﬁrst edition (PR 161)

A

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

B

Printing manuscript, autograph (MS 32 3063)

C

Draft (MS 33 2160)

Bar
7-8

Part
pf.1

11

pf.1

Stanza Line
5
1

Comment
tie added as in B and by analogy
with pf.2 upper partnotes 1-2: slur removed
Comment
Hedelærken et hædersnavn emended
to Hedelærken, et hædersnavn,

Bar

Part

Comment
B: not Alvorligt

136 “Naturens ædle dyrker”
pf.
Text: Carsten Hauch
Dating: [1921]

133 “Dér, hvor vi stred og sang”

Other versions: 152 (pf.)

pf.
Text: Jens Christian Hostrup

Sources

Dating: [1921]

A

Print, ﬁrst edition (PR 161)

Other versions: 154 (pf.)

B

Printing manuscript, autograph (MS 32 3063)

C

Draft (MS 33 2160)

SourcesA

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

Bar
3
7

Part
voice
pf.1

Comment
der emended to dér
B: upper part second crotchet:e ' - g'

Bar
1, 2
5

Part
pf.1
pf.2

Stanza Line
3
2
3

4

4

1

7

2

134 “Når somrens sang er sungen”
pf.
Text: Jens Christian Hostrup
Dating: [1921]

Comment
notes 1-2: slur added as in B
B: ﬁrst chord: b, d' crossed out inpencil presumably by compositor
Commentde rædsler som emended to derædsler, som as in Bvældige stemmer. emended to vældige
stemmer; as in B
Og rosernes emended to og rosernes
as in Bfjærneste lande og emended tofjærneste lande, og as in B

Other versions: 153 (pf.), 368 (SSA)
137 “Tunge, mørke natteskyer”
Sourcesvoice, pf.

A

Print, ﬁrst edition (PR 161)

Text: Jakob Knudsen

B

Printing manuscript, autograph (MS 32 3063)

Dating: [1921]

C

Draft (MS 33 2160)

Other versions: 165 (pf.)

135 “De snækker mødtes”

Sourcespf.

A

Print, ﬁrst edition (PR 161)

Text: N.F.S. Grundtvig

B

Printing manuscript, autograph (MS 32 3063)

Dating: [1921]

C

Draft (MS 33 2160)

Other versions: 160 (pf.), 357 (SSA)

D

Fair copy, autograph (MS 33 2246)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 455

455

22/02/09 8:32:19

Bar

Part

Stanza Line
1
7
2

1

3
4

6
8

Comment
B: Stille, dog ikke for langsomt.

SourcesA

Print, ﬁrst edition (PR 161)

Comment
nær du kære emended to nær, dukærenær, thi uden emended to nær, tiuden as in B; B: ti added in ink (CN)hjertet emended to hjærtet as in B
according to Jakob Knudsen’smanuscript (facs. Povl Schmidt,
Drømmen dør. læsninger i Jakob Knudsens forfatterskab, Odense 1984, p.
173) and the ﬁrst printed editionof the poem (ed. F. Falkenstjerne &Morten Pontoppidan, Tidens Strøm
7/10 (5 December 1890), the line
is Tak Du Lysets Fader! During 19161926, the verse was changed to Tak
Du Livets Fader in a number of songand hymnbooks just as Nielsen
reproduces it (see outline in Anders Malling, Dansk Salmehistorie,
Copenhagen 1960), vol. 5, p. 60ff.).
In all the examined printed collections after 1926 (except Tillæg til
Salmebog for Kirke og Hjem of 1936),
the correction has been cancelledthus employing the original Tak
Du Lysets Fader again. However, it
has not been possible to establish
whether the alteration was due toa repeated slip of the pen in thementioned song- and hymnbooks
from 1916-26 or a conscious
change of the text. The present
edition reproduces the line fromTyve folkelige Melodier. It should be
noted that the change of Knudsen’s original Verden bliver mig øde(see facs. mentioned above) to Livet
bliver mig øde in the third stanza,line 2, has been retained in all theprinted sources (except Knudsen,
Digte, ed. Einar Thomsen, Copenhagen 1938).

B

Printing manuscript, autograph (MS 32 3063)

C

Fair copy, autograph (MS 33 2204)

138 “Som dybest Brønd gir altid klarest Vand”
voice, pf.
Text: Jeppe Aakjær
Dating: [1921]
Other versions: 169 (pf.)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 456

Bar
+1
5

Part
pf.
pf.

Comment
B:
B: second to fourth crotchet:

7
9

pf.
voice pf.

B: fourth crotchet:
B: ﬁrst to fourth crotchet:

10
11
11

voice pf.
voice
pf.

B: note 1: ; rest 1:
note 7:  emended to
B:







r j
& b œœœ ‰ . œœœ œœ ‰ œœœ ... œœ? b œ ‰. œ œ ‰ œ
œ
R J

11-12

pf.

Stanza Line
2
2
2
4

6
1

4
4

3
4

B: b.11 fourth crotchet to b.12
second crotchet:Comment
Flinteøkssen emended to Flinteøxen
as in B
gemt emended to gjemt as in B
Blad i Høst emended to Blad i Høst,
as in Bskønne emended to skjønne as in B
gennembæve emended to gjennembæve as in B

139 “Det danske Brød paa Sletten gror”
voice, pf.
Text: Jeppe Aakjær
Dating: [1921]
Other versions: 244 (pf.)
SourcesA

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

C

Fair copy, autograph (MS 32 3064)

D

Printed score (PR 165)

Bar

Part

+1
4
4

pf.
voice
pf.2

Comment
C: Med rolig Varme.
B: rest 1:
C: 
B:  where the rest has been
added in light black ink (CN)456

22/02/09 8:32:19

5-6
6-14

pf.1
pf.2

8
15

pf.1
voice

16

voice

Stanza Line
3
6
4
4

tie added
b.6 note 2: beginning of slur added
as in B; A: bb.5-6: beginning of slur
incomplete, change of stave (bb.5-6)
B: chord 2: note 2:  emended to in accordance with C
C: note 2: 

1
6
10

B: note 1:
B: third crotchet (chord): f, b, d'
B: chord 1:##& # # œœ ..
˙.
10143 “Nu lyser Løv i Lunde”
pf.

Comment
gør emended to gjør as in B
igennem emended to igjennem as
in B

140 ➤ 116



pf.
pf.1
pf.1

Text: Johannes Jørgensen
Dating: [1921]
Other versions: 172 (pf.), 351 (SA)
Sources

141 “Betragt mit svage spind”
pf.
Text: Adam Oehlenschläger
Dating: [1921]
Other versions: 148 (pf.), 384 (SSA)A

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

Bar
+1
6

Part
pf.2
pf.1

Comment
B: (c)
lower part note 2:  emended toas in B

SourcesA

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

144 Syndﬂoden (“Når nat udvælder”)
pf.
Text: N.F.S. Grundtvig

Bar

13

Part

pf.

Stanza Line
2
5

Comment
A: Oehlenschläger (Edderkoppens sangaf “Aladdin”)
B: no indication of tempo
B: ﬁrst crotchet: no marc.
Comment
snart tråden, ud snart emended tosnart tråden ud, snart

Dating: [1921]
Other versions: 158 (pf.)
SourcesA

Print, ﬁrst edition (PR 161)

B

Printing manuscript, autograph (MS 32 3063)

Stanza Line
92142 “Frihed er det bedste guld”

Comment
spurven grå end emended to spurvengrå, end as in B

voice, pf.
Text: Thomas af Strengnæs
Dating: [1921]

B I D R A GOther versions: 157 (pf.)

S K O L E N S

T I L‘ F O L K E H Ø J -M E L O D I B O G ’

The ﬁrst edition of Folkehøjskolens Melodibog has been

SourcesA

Print, ﬁrst edition (PR 161)

elected as copy text (A). Since A only includes the ﬁrst

B

Printing manuscript, autograph (MS 32 3063)

stanza of each song, the remaining stanzas have beendrawn from the tenth edition of Folkehøjskolens Sang-

Bar

Part

Comment
A: Biskop Thomas af Strengnæs († 1443)
B: Fast og frejdigt

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 457

bog (1922); spelling and punctuation are emended
according to that source. Only a few fair copies and457

22/02/09 8:32:20

drafts have apparently survived, none of which have

Sourcesbeen relevant for the revision. The songbook includes

A

Print, ﬁrst edition (PR 171)a few footnotes and deﬁnitions of words concerning

B

Printed score (PR 92)

the texts and these have been listed among the vari-C

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

ants and emendations.
145 “Den store mester kommer”

Bar

Part

pf.
Text: B.S. Ingemann
Dating: [1922]

Comment
A: Nr. 113. (som 238); C: Carl Nielsen,
eller som: Foragter ej de ringe dage.;
B: Grundtvig. “Morgensange” til
C. Mariboes skole 1833.

Other versions: 115 (pf.), 130 (pf.)
148 “Betragt mit svage spind”
pf.

SourcesA

Print, ﬁrst edition (PR 17 )Text: Adam Oehlenschläger

B

Printed text, Folkehøjskolens Sangbog, Odense

Dating: [1922]

1922, tenth edition

Other versions: 141 (pf.), 384 (SSA)

1

Bar

Part

Comment
A: Nr. 65b.; B: Ingemann. Efter
Malachias 3,3 “Nord. Tidsskr. f. chrisl.
Theologi” ved Oldenborg og P.C. Kierkegaard III, s. 167. Forkortet

146 “Påskeblomst! En dråbe stærk”

SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

pf.

Comment
A: Nr. 125.; B: Oehlenschläger. Fra “Aladdin eller d. forunderlige Lampe”, 1805.

Text: N.F.S. Grundtvig
Dating: [1922]

149 “Jord, i hvis favn”

Other versions: 229 (pf.), 324 (TTBB)

pf.
Text: Christian Richardt

Sources

Dating: [1922]

A

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

Other versions: 129 (pf.)
SourcesComment
A: Nr. 85.; B: Udvalgte og noget omstillede vers af Grundtvigs “Påske-Lillien”,
1859. [Brücker og J. Knudsen] “Salmeb.
for Kirke og Hjem”, 2den udg. 1897.

A

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

7

voice

147 “Udrundne er de gamle dage”
pf.
Text: N.F.S. Grundtvig
Dating: [1922]
Other versions: 116 (pf.), 149 (pf.), 312 (SATB)Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 458

Comment
A: Nr. 137.; B: Chr. Richardt. Ved kirkemødet i sept. 1874 (i “Billeder og Sange”,
1874).
notes 2-3: g' - f' emended to f' - d'' asin list of errors Højskolebladet 29(1922), col. 858 and by analogy
with 129458

22/02/09 8:32:20

Stanza Line
4
7

Comment
grønnes, emended to grønnes

150 “Jeg så kun tilbage”

C

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

pf.
Text: B.S. Ingemann

Comment
A: Nr. 158.; C: C. Hauch. 6/7 1860 ved
naturforskermødet i Kbhvn.

Dating: [1922]
Other versions: 127 (voice, pf.)

153 “Når somrens sang er sungen”
pf.
Text: Jens Christian Hostrup

SourcesA

Print, ﬁrst edition (PR 171)

Dating: [1922]

B

Draft (MS 33 2160)

Other versions: 134 (pf.), 368 (SSA)C

Printed text, Folkehøjskolens Sangbog, Odense
Sources

1922, tenth edition
Bar

Part

Comment
A: Nr. 141b.; C: Ingemann. “Holger
Danske”, et Digt i 5 Sangkredse”, 1837.

151 “Derfor kan vort øje glædes”A

Print, ﬁrst edition (PR 171)

B

Draft (MS 33 2160)

C

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

4

pf.1

pf.
Text: Christian Richardt
Dating: [1922]

Comment
A: Nr. 162.; C: C. Hostrup. Fra “Under
Snefog”, 1888.
chord 3 bottom note: d' emended
to d'Other versions: 126 (voice, pf.)
154 “Dér, hvor vi stred og sang”
Sourcespf.

A

Print, ﬁrst edition (PR 171)

B

Draft (MS 33 2160)

C

Printed text, Folkehøjskolens Sangbog, Odense

Text: Jens Christian Hostrup
Dating: [1922]
Other versions: 133 (pf.)

1922, tenth edition
Bar

Part

8

pf.1

Comment
A: Nr. 157.; C: Chr. Richardt. Fra “Texterog Toner”, 1868, s. 16. (Af en kantate.)
lower part:  added by analogy
with the other parts

SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

152 “Naturens ædle dyrker”
pf.

Comment
A: Nr. 182a.; B: C. Hostrup. 1882 vedåbningen af Københavns højskole.

Text: Carsten Hauch
155 “Vi ﬁk ej under tidernes tryk”

Dating: [1922]

pf.

Other versions: 136 (pf.)

Text: Jens Christian Hostrup
Dating: [1922]

SourcesA

Print, ﬁrst edition (PR 171)

B

Draft (MS 33 2160)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 459

Other versions: 227 (pf.), 323 (TTBB), 360 (SSA)

459

22/02/09 8:32:20

Bar

SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, OdensePart

1922, tenth edition
Bar

Part

Comment
A: Nr. 185.; B: C. Hostrup. 25/2 1884
ved indvielsen af Vallekilde højskolesøvelseshus.

Comment
A: Nr. 200.; C: Biskop Thomas af Strengnæs, † 1443. Oversættelse ved Chr. Thura.
P. O. Bojsens visebogs svenske tillæg,1862. (Ved Frede Bojsen).

158 “Når nat udvælder fra sorten sky”
pf.
Text: N.F.S. Grundtvig
Dating: [1922]

Stanza Line
1
8

Comment
med det ord emended to med de ord

156 “På det jævne, på det jævne”
pf.
Text: H.V. Kaalund

Other versions: 144 (pf.)
SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Dating: [1922]
Other versions: 125 (pf.), 363 (SSA)

Bar

Part

3

voice

SourcesA

Print, ﬁrst edition (PR 171)

B

Fair copy, autograph (MS 33 2179)

C

Printed text, Folkehøjskolens Sangbog, Odense

159 “Der sad en ﬁsker så tankefuld”

1922, tenth edition
Bar

Part

2
3
10
12
12
13
14-15

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

Comment
A: Nr. 215b.; B: Grundtvig. (forkortet).
Grundtvigs og Rudelbachs “Theol.
Maanedsskr.”, XIII, 1828.
note 5: i emended to til as in B

pf.

Comment
A: Nr. 192.; C: H. V. Kaalund. Fra “En
Eftervaar” 1877. Trykt første gang i“For Idé og Virkelighed” 1872.
B: upper part note 1: 
B: lower part:  
B: upper part: missing
B: lower part second minim: 
B:  (A)  (d)B: lower part ﬁrst minim:  
B: upper part: no tie

Text: N.F.S. Grundtvig
Dating: [1922]
Other versions: 131 (pf.)
SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

157 “Frihed er det bedste guld”
pf.

Comment
A: Nr. 245.; B: Grundtvig. Lindbergs“Nord. Kirke-Tid.” 1838, sp. 449.
(Forkortet).

Text: Thomas af Strengnæs
160 “De snækker mødtes i kvæld på hav”

Dating: [1922]

pf.

Other versions: 142 (voice, pf.)

Text: N.F.S. Grundtvig
Dating: [1922]

Sources

Other versions: 135 (pf.), 357 (SSA)

1

A

Print, ﬁrst edition (PR 17 )B

Draft (MS 33 2160)

C

Printed text, Folkehøjskolens Sangbog, Odense

Sources

1922, tenth edition

A

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 460

Print, ﬁrst edition (PR 171)460

22/02/09 8:32:20

B

Draft (MS 33 2160)

C

Printed text, Folkehøjskolens Sangbog, Odense

163 “Underlige aftenlufte”
pf.

1922, tenth edition

Text: Adam Oehlenschläger
Dating: [1922]

Bar

Part

Comment
A: Nr. 359. C: Grundtvig. Indskrift på
mindestenen over de faldne fra “Prins
Kristian” på Oddens kirkegård 1808.
“Dagen” 1810, Nr. 40.

161 “Hedelærken, den liden fugl”

Other versions: 90 (voice, pf.), 309 (SATB), 345(SSA)
SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odensepf.

1922, tenth edition

Text: Carl Ploug
Bar

Dating: [1922]

Part

Other versions: 132 (voice, pf.)
SourcesA

Print, ﬁrst edition (PR 171)

B

Draft (MS 33 2160)

C

Fair copy, autograph (MS 32 3028)

D

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Stanza Line
2
1

Comment
A: Nr. 429.; B: Oehlenschläger. Digtet i
Halle under udenlandsrejsen i efteråret
1805. Trykt i Rahbeks nyårsgave Charis
1806 ( : Decbr. 1805).
Comment
bag bjærtets stene emended to bagbjærgets stene

164 “Rosen blusser alt i Danas have”
pf.

Bar

Part

13-14

voice

Comment
A: Nr. 370.; D: C. Ploug. 14/9 1866
ved afsløringen af mindesmærket i
Viborg.
nordlysbue emended to nordlys lue
as in D162 “Morgendug, der sagte bæver”
pf.

Text: Poul Martin Møller
Dating: [1922]
Other versions: 94 (voice, pf.), 335 (SA)
SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Text: Carsten Hauch
Dating: [1922]

Bar

Part

Other versions: 128 (pf.), 337 (SA)Comment
A: Nr. 430.; B: Digtet 1820 på Sydhavet(forkortet). Poul Møller

Sources
165 “Tunge, mørke natteskyer”

APrint, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odensepf.

1922, tenth edition

Text: Jakob Knudsen
Dating: [1922]

Bar

Part

Comment
A: Nr. 424.; B: C. Hauch. Fra hans
“Lyriske Digte og Romancer” 1861

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 461

Other versions: 137 (voice, pf.)
SourcesA

Print, ﬁrst edition (PR 171)

B

Draft (MS 33 2160)

461

22/02/09 8:32:21

C

Printed text, Folkehøjskolens Sangbog, Odense

Bar

Part

1922, tenth edition
D

Comment
A: Nr. 579.; B: H. Drachmann. Somren
1906.

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition

Bar

Part

Stanza Line23
4
8

168 “Vender sig lykken fra dig”
pf.

Comment
A: Nr. 554.; C: Jakob Knudsen. Fra Falkestjernes og Pontoppidans ugeskrift“Tidens Strøm”. 7de årg. (1890) nr. 10.
Comment
ti uden dig emended to ti uden dig,regarding du livets fader or du lysets
fader see 137

Text: Carsten Hauch
Dating: [1922]
Other versions: 92 (voice, pf.)
SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

166 “Jeg bærer med smil min byrde”
pf.

Bar

Part

Text: Jeppe Aakjær
Dating: [1922]

Comment
A: Nr. 584.; B: C. Hauch. “Trøst i
Modgang”, Lyriske digte 1861.

Other versions: 97 (voice, pf.), 310 (SATB)
169 “Som dybest brønd”
pf.

Sources

Text: Jeppe Aakjær

1

A

Print, ﬁrst edition (PR 17 )B

Printed text, Folkehøjskolens Sangbog, Odense

Dating: [1922]
Other versions: 138 (voice, pf.)

1922, tenth edition
Bar

Part

Stanza Line3
3

Comment
A: Nr. 564.; B: Jeppe Aakjær. “Sundt
Blod” (af “Rugens Sange”, 1906).
Comment
B: deﬁnition of word: arker:
Fjerskyer.

SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

167 “Du danske mand! af al din magt”
pf.

Comment
A: Nr. 588a.; B: Jeppe Aakjær. Skrevet
til “historisk stævne” i Skive 5/6 1916

170 “Nu er dagen fuld af sang”

Text: Holger Drachmannpf.

Dating: [1922]

Text: Jeppe Aakjær

Other versions: 224 (voice, pf.), 300 (SATB), 320

Dating: [1922](TTBB), 339 (SA), 391 (SSA)

Other versions: 98 (voice, pf.), 349 (SSA)

SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

C

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 462

462

22/02/09 8:32:21

Bar

Part

Comment
A: Nr. 596.; B: Jeppe Aakjær. Saml.
digte II, 1912.

Stanza Line
2
3

Commentsøndenvinden emended to søndenvinde in accordance with C

15

pf.1

fourth to ﬁfth quaver: slur addedin accordance with placement ofsyllables in voice

173 “De refsnæsdrenge”
pf.
Text: Steen Steensen Blicher
Dating: [1922]

171 “Nu springer våren fra sin seng”

Other versions: 87 (voice, pf.)

pf.
Text: Viggo Stuckenberg
Dating: [1922]

Sources

Other versions: 105 (voice, pf.)

A

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

SourcesA

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense

Bar

Part

1922, tenth edition
Bar

Part

7-8

pf.1

Comment
A: Nr. 599a.; B: Viggo Stuckenberg.
Sidste digte (1906). Af “Første Maj”.
b.7 note 4 to b.8 second chord: slurchanged from b.8 chords 1-2

Comment
A: Nr. 627.; B: St. St. Blicher. Af “Kærlighed på dagvognen”

174 “Farvel, min velsignede fødeby”
pf.
Text: Poul Martin Møller
Dating: [1922]
Other versions: 96 (voice, pf.), 371 (SA)172 “Nu lyser løv i lunde”
pf.

Sources

Text: Johannes Jørgensen

A

Print, ﬁrst edition (PR 171)

Dating: [1922]

B

Printed text, Folkehøjskolens Sangbog, Odense

Other versions: 143 (pf.), 351 (SA)
SourcesA

Print, ﬁrst edition (PR 171)

B

Fair copy, autograph (MS 32 3023)

C

Printed text, Folkehøjskolens Sangbog, Odense
1922, tenth edition

Bar

Part

3-4

voice

3

pf.1

9

voice

12

voice

Comment
A: Nr. 607.
C: grønt ligger Danmarks land, CN
has apparently changed the text
because of the rhythm
upper part notes 3-4: slur added asin B and in accordance with text
B: Frugtblomster instead of Frugtblomsters
felt. emended to felt, in accordancewith B

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 463

1922, tenth edition
Bar

Part

6

voice

Stanza Line
61
62

Comment
A: Nr. 653.; B: Povl Martin Møller.
Efterladte skrifter, 2. udg., 1848.
på stald emended to i stald as in B
Comment
B: deﬁnition of word: tap: Kogle
B: deﬁnition of word: knap:
Egentlig: Knappe, tysk ord for ‘væbner’175 “Se dig ud en sommerdag”
pf.
Text: Jeppe Aakjær
Dating: [1922]
Other versions: 106 (voice, pf.), 338 (SA)463

22/02/09 8:32:21

SourcesF I R EF O L K E L I G E

M E L O D I E RAPrint, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense

No common printing manuscript for all four songs

1922, tenth editionof Fire folkelige Melodier seems to have survived andeach song has therefore its own hierarchy of sources

Bar

Part

8

pf.1

Comment
A: Nr. 666.; B: Jeppe Aakjær. “Fri felt”(1905).
second to third chord: tie added

consisting of fair manuscripts and drafts. The printed edition of 1925 (A) has been elected as copy text
and collated with the manuscript sources; the copy
text for the text is also the printed music edition of
1925. Later, the songs appeared in Tillæg til Folkehøj-

176 “I skyggen vi vanke”

skolens Melodibog, 1927.

pf.
Text: Adam Oehlenschläger

178 “Lær mig, nattens stjærne”

Dating: [1922]
Other versions: 89 (voice, pf.), 288 (SSAA, pf.), 350

pf.

(unison song)

Text: Christian Richardt
Dating: 3.8.1922
Other versions: 196 (pf.)

Sources
1

A

Print, ﬁrst edition (PR 17 )B

Printed text, Folkehøjskolens Sangbog, Odense

Sources

1922, tenth edition

A

Print, ﬁrst edition (PR 181)

B

Fair copy, autograph (MS 33 2148)

Bar

Part

Comment
A: Nr. 668a.; B: Oehlenschläger. Fra“Sankt-Hans Aften-Spil” (Pigerne inde iskoven.)177 “Som en rejselysten ﬂåde”

CDraft (MS 33 2149)

D

Printed score (PR 201)

Bar

Part

3-4

pf.2

5-8

pf.2

6

voice

7

pf.1

pf.
Text: Helge Rode
Dating: [1922]
Other versions: 124 (voice, pf.); 306 (SATB); 342(SSA)
Sources

11

A

Print, ﬁrst edition (PR 171)

B

Printed text, Folkehøjskolens Sangbog, Odense

Comment
B, C: Mildt, ikke for langsomt
b.3 chord 1 to b.4 chord 2: slur
added as in B
b.7 note 3 end of slur emended tob.8 note 1 as in B
third quaver (stanzas 2, 3, 4, 6): b'(quaver) emended to g' as in B, C
and in accordance with Dlower part note 1:  (c' ) added asin B and in accordance with C
B, C: rall:

179 “Sangen har lysning”

1922, tenth editionpf.
Text: Bjørnstjerne Bjørnson

Bar

Part

Comment
A: Nr. 673.; B: Helge Rode (af “Moderen”).

Dating: 3.8.1922
Other versions: 197 (pf.)
SourcesA

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 464

Print, ﬁrst edition (PR 183)464

22/02/09 8:32:21

B

Fair copy, autograph (MS 33 2193)

C

Draft (MS 33 2166)T I

D A N S K E

S M A A S A N G E

No printing manuscript comprising all the songs of
180 “Hvad synger du om”

Ti danske Smaasange has been available; however, eachpf.

song has its own speciﬁc hierarchy of sources consist-

Text: Jens Christian Hostrup

ing of fair copies and drafts. The printed source of

Dating: 22.12.1922

1926, second impression (A), has been elected as copy

Other versions: 198 (pf.)

text and collated with the manuscript sources. The
copy text for the text is also the printed music edition.

SourcesA

Print, ﬁrst edition (PR 184)

B

Fair copy, autograph (MS 32 3052)

voice, pf.

C

Fair copy, autograph (MS 33 2107)

Text: Harald Bergstedt

D

Draft (MS 33 2166)

Dating: [1926]

182 “Jeg ved en Lærkerede”

Other versions: 373 (SA)
Bar

Part

11

Comment
B: Blidt ikke for langsomt
C: sixth quaver: dim.
upper part notes 1-2: tie added asin B and in accordance with C
C: ﬁrst quaver: rall:

Stanza Line
5
3

Commentvælde, emended to vælden,

10
10

pf.1

SourcesA

Print, second impression (PR 19)

B

Draft (MS 33 2131)

Bar
3

voice, pf.

pf.

Text: Harald Bergstedt

Text: N.F.S. Grundtvig

Dating: [1926]

Dating: 3.8.1922

Other versions: 259 (pf.), 374 (SSA)

Other versions: 200 (pf.)

Sources

SourcesA

Print, ﬁrst edition (PR 185)

B

Fair copy, autograph (MS 33 2165)

C

Draft (MS 33 2166)
Part

3-4

pf.1

11

voice

Comment
chords 1-2: slur added

183 “Solen er saa rød, Mor”

181 “Nu skal det åbenbares”

Bar

Part
pf.2

Comment
B: Bredt og varmt
lower part b.3 note 2 to b.4 note 1:
tie added as in B
da-ners-hjer-te emended to da-ners
hjær-ter as in B

A

Print, second impression (PR 19)

B

Draft/sketch (MS 33 2205)

Bar
4

Part
pf.1

8

pf.1

Comment
upper part notes 1-2: tie added byanalogy with pf.2 upper part
upper part notes 1-2: tie added

184 “Tyst som Aa i Engen rinder”
voice, pf.
Text: Helge Rode
Dating: [1926]
Other versions: 256 (pf.), 355 (SSA), 395 (SA)Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 465

465

22/02/09 8:32:22

SourcesA

Print, second impression (PR 19)

B

Fair copy (MS 33 2227)

C

Draft/sketch (MS 33 2228)

Bar
3
5

6-7

7
7

Part
pf.2
pf.2

pf.

pf.

Comment
upper part notes 1-2: tie added
upper part note 1: d with slur tonote 2 emended to f with tie tonote 2 and slur b.5 note 1 to b.6
note 1 as in B
b.7 third quaver: end of
emended to b.6 twelfth quaver as
in B
B: third dotted quaver: 
B: ﬁnal bar: 

185 “Spurven sidder stum bag Kvist”

4

pf.1

5-8

pf.2

7-8

pf.1

stacc. added by analogy with bb.12, 6
b.5 note 4 to b.8 note 3: stacc.
added by analogy with bb.1-2, andb.5 notes 1-3
stacc. added by analogy with bb.12, 6

187 “Naar Smaabørn klynker”
voice, pf.
Text: Christian Dabelsteen
Dating: [1926]
Other versions: 260 (pf.), 376 (SA)
SourcesA

Print, second impression (PR 19)

B

Draft/sketch (MS 33 2172)

voice, pf.
Bar
7

Text: Jeppe Aakjær
Dating: [1926]
Other versions: 370 (SSA), 407 (unison song)

voice, pf.

A

Print, second impression (PR 19)

B

Draft/sketch (MS 33 2207)

C

Sketch (MS 33 2172)

D

Manuscript copy (MS 32 3027)
Part
pf.2
pf.

Text: Poul Martin Møller
Dating: [1926]
Other versions: 348 (SSA), 403 (unison song)

Comment
marc. added by analogy with pf.1
ﬁrst crotchet: rall. added by analogy with voice

SourcesA

Print, second impression (PR 19)

B

Fair copy (MS 33 2089)

C

Draft for the piano part, incomplete (MS 33 2145)

Bar

Part

1

voice

1
3
3
4

pf.2
voice
pf.2
pf.1

4

pf.2

5
6

voice
pf.2

6-13

voice

186 “Den Spillemand spiller paa Strenge”
voice, pf.
Text: Mads Damm
Dating: [1926]
Other versions: 292 (3 vl. or other instr.), 375 (SA)
SourcesA

Print, second impression (PR 19)

B

Draft/sketch (MS 33 2205)

Bar
3-4

Part
pf.2

Comment
stacc. added by analogy with bb.12, and b.5 notes 1-3

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 466

Comment
poco rall. added by analogy with pf.

188 “Grøn er Vaarens Hæk”

Sources

Bar
9
16

Part
voice

Comment
B: Muntert, men ikke for hurtigt
emended to Ungdommelig bevæget
in pencil
notes 2-4: stacc. added as in B andby analogy with bb.3, 9, 11
chord 1: stacc. added as in B
B: notes 3-4: chord 1: stacc. added as in B
note 2: stacc. added as in B and byanalogy with b.2
notes 1-4: stacc. added as in B andby analogy with b.2
notes 3-4: stacc. added as in B
notes 2-3: stacc. added as in B andby analogy with pf.1
B: stacc. added in pencil

466

22/02/09 8:32:22

7

pf.

7-8

pf.1

7-8

pf.2

7
8
8
8
9-10

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

10

pf.1

10

pf.2

11

voice

11-12

pf.1

12

pf.2

13
13

voice
pf.1

14-16

voice

14

pf.1

15

pf.1



z

note 1:
emended toasin B
upper part b.7 notes 1-3: sluremended to slur b.7 note 1 to b.8
note 3 as in B
b.7 notes 1-3: slur emended to slurb.7 note 1 to b.8 note 1 as in B
B: notes 2-3: stacc.
note 1: stacc. added as in B
chords 2-3: stacc. added as in B
notes 2-4: stacc. added as in B
b.9 chord 1 to b.10 note 4: slur
added as in B
notes 2-3: stacc. omitted as in B;
note 5: stacc. added as in B
chord 1: stacc. emended to ten. as
in B; note 1: stacc. added as in B
notes 1-2: stacc. added as in B andby analogy with bb.3, 9
b.11 chord 1 to b.12 note 3: slur
added as in B
chord 1: stacc. emended to ten. asin B
stacc. added as in B
chord 1: stacc. added by analogy
with chord 2 (B); chord 2: stacc.
added as in B
stacc. added by analogy with bb.68 and by analogy with b.14 (B)chord 1: stacc. added as in B;
chord 2: stacc. added by analogy
with chord 1 (B)rhythm emended from

Bar
7

Part
pf.1

9I,II,III
9III
9III

voice
pf.1
pf.2

10

pf.1

190 “O, hvor jeg er glad i Dag”
voice, pf.
Text: Michael Rosing
Dating: [1926]
Other versions: 255 (pf.), 352 (SA)
SourcesA

Print, second impression (PR 19)

B

Fair copy (MS 33 2171)

C

Draft/sketch (MS 33 2172)

Bar

Part

1
2

pf.
pf.1

3

pf.1

6

pf.1

pf.

as in Bﬁrst quaver: stacc. omitted as in B;
note 1:
emended toas in B;added as in B





8

pf.1

9

pf.2

10

pf.2

12
13

pf.1
pf.1

13

pf.2



189 “Jeg lægger mig saa trygt til Ro”
voice, pf.
Text: Christian Winther
Dating: [1926]
Other versions: 354 (SSA)B

as in B
notes 1-2: slur emended to slur
second quaver to sixth quaver as
in B
chord 1 note 2: b omitted and hence
also slur to previous bar as in B
upper part note 1:  emended to 
as in B
chord 1 emended from e' , a' as in B
chord 1 to note 1: slur emended toslur chords 1-2 as in B
tie added as in B

191 “Den danske Sang”

SourcesA

Comment
B: Meget livligt (presto)poco added as in B
sixth quaver: ten. omitted as in B
and by analogy with bb.1, 3-13
B: ﬁfth to sixth quaver: slur addedin pencil
fourth to sixth quaver: rhythm
emended from# ##& # œ œ œ3

j 3
& ‰ œœœ œ œ œ œ
16Comment
ﬁrst to second crotchet: slur addedby analogy with third and fourth
crotchetpoco rall. added by analogy with pf.
ten. added by analogy with bb.9I,II
note 1: beginning of slur emended
to open slur because of volta
ﬁrst to second crotchet: slur addedPrint, second impression (PR 19)

pf.

Draft (MS 33 2128)

Text: Kai Hoffmann
Dating: [1926]
Other versions: 330 (TTBB)Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 467

467

22/02/09 8:32:23

Sources

Only stanza 1 is found in A and hence stanzas 2 andA

Print, second impression (PR 19)

3 are added as in C.

B

Draft (MS 33 2126)
194 Den jenn å den anden (“Den jenn ska studier bådde
Græsk å Latin”)

F I R EJ Y D S K E

S A N G E

voice, pf.
Text: Anton Berntsen

192 Jens Madsen og An-Soﬁ (“Jens Madsen wa en Fesker-

Dating: [ca. 1924]

mand”)
voice, pf.

Sources

Text: Anton Berntsen

A

Fair copy, autograph (MS 33 2243)

Dating: [ca. 1924]

B

Draft without text (MS 33 2244)

C

Printed text, Anton Berntsen, Gjemm-Ævvel, Co-

SourcesApenhagen 1922, p. 59

Fair copy, autograph (MS 33 2133)

B

Sketch (MS 33 2128)

The complete vocal text of stanza 1 is found in A,

C

Printed text, Anton Berntsen, Gjemm-Ævvel, Co-

whereas stanzas 2 and 3 (b. 3) only appear in a frag-penhagen 1922, p. 52

mentary form and are therefore added in accordancewith C.

Bar
1
9
13
34

Part
voice
pf.1

41
49

voice
pf.1

58-59

voice

58-59

pf.

63

pf.2

67

voice

pf.1

Comment
var emended to wa as in C
stacc. added by analogy with pf.2
A: rit. added in pencil
second semiquaver: f ' emended tof ' by analogy with the other parts( ) emended to
A: chord 1: marc. added in pencil(CN?)
poco rit. in b.59 emended to ri-tardan-do by analogy with pf.
A: poco rit. in b.59 changed in pencil to rit. – – – – in bb.58-59 (CN)notes 2-3: stacc. added by analogy
with pf.1
 in blue
A: changed tocrayon (CN)

193 Wo Dætter (“Hun æ så møj en hwalle Piig”)

Bar

Part

+1
2
4
8

voice
pf.
voice
pf.

Comment
B: notated in G major
B: changed to  in pencil
marc. added by analogy with b.1
note 2: c '' emended to b ' as in B
last added by analogy with voice

195 Æ lastræ (“Mi Håsbond wa en piinwon Rad”)
voice, pf.
Text: Anton Berntsen
Dating: [ca. 1924]
SourcesA

Draft without text (MS 33 2147)

B

Text, typewritten (MS Ext. 7)CPrinted text, Anton Berntsen, Megstur. Jydske

voice, pf.

Digte, Copenhagen 1925, p. 23

Text: Anton Berntsen
Dating: [ca. 1924]

A does not include the vocal text which therefore
has been added according to B (Nielsen’s copy ofSources

the text). Apparently Anton Berntsen made a single

A

Fair copy, autograph (MS 33 2243)

B

Draft without text (MS 33 2244)

C

Printed text, Anton Berntsen, Gjemm-Ævvel, Copenhagen 1922, pp. 29-30

with the ﬁrst printed edition of the text (C). In B theline is “næer vi tøtt, vi wa farre te” while C has “hankund jo ett blyw farre te”.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 468

change to the text (stanza 1, line 7) in connection

468

22/02/09 8:32:23

B I D R A G
T I L

T I L

‘ T I L L Æ G

F O L K E H Ø J S K O L E N S

M E L O D I B O G ’

BFair copy (MS 32 3011)

C

Draft (MS 33 2011)

D

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition

Regarding the music, the printed edition of 1927 (A)has been elected as copy text. No printing manuscript

Bar

Part

comprising all the songs of Tillæg til Folkehøjskolens Melodibog has been available; however, there are print-

Comment
A: Nr. 6.; D: “Dannevang”. Digtet 1816.
I Rahbecks “Tilskueren”, 16/5 1817, 3
første vers.

ing manuscripts to some of the songs of the collection. In addition, various fair copies and drafts have200 “Nu skal det åbenbares”

been available and these have been collated with A.

pf.

Since these latter sources often may be interpreted

Text: N.F.S. Grundtvig

as different versions or incomplete versions, the vari-

Dating: [1927]

ants have not been listed in the list of emendations.

Other versions: 22 (voice, pf.), 181 (pf.)

Regarding the text revision, the eleventh edition of
Folkehøjskolens Sangbog (1926) has been chosen, since it

Sources: See 181

was the point of departure for the editors of Tillæg til

BFolkehøjskolens Melodibog, and hence also Nielsen’s.
196 ➤ 178

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition

Bar

Part

197 ➤ 179
198 “Hvad synger du om”
pf.
Text: Jens Christian Hostrup
Dating: [1927]

201“Hvem sidder der bag skærmen”
pf.

Sources

Text: Jeppe Aakjær

See 180
B

Dating: [1927]

Printed text, Folkehøjskolens Sangbog, Odense

Other versions: 22 (voice, pf.)

1926, eleventh edition
Bar

Part

Comment
B: Grundtvig. / Udtog af ‘GyldenAaret’, 1834, i 50-året efter kronprinsFrederiks regeringstiltrædelse, på hansårsdag 28/1. – I ‘Nord. Kirke-Tid.’, II,
nr. 4, 1834, sp. 55 ﬂg. – Her enkelteændringer efter ‘Kiærminder til Kong
Frederik den Sjettes Krands’, 1840.

Comment
B: C. Hostrup. / ‘Lærken’. 1866. I ‘Sangeog digte fra tredive år’ 1872.

SourcesA

Print (PR 201)

B

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition

199 “Danevang med grønne bred”
pf.

Bar

Part

12

pf.1

Text: B.S. Ingemann
Dating: [1927]
SourcesA

Print (PR 201)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 469

Comment
A: Nr. 17.; B: Digtet “Jens Vejmand”, skrevet i Jebjerg 19/6 1905; tr. i “Politiken”,
22/6 s.a. I saml. “Rugens sange”, 1906.
chord 1: F  minor chord emended toF  major chord by analogy with 22469

22/02/09 8:32:24

202 “Vi nævner et navn”

Dating: [1927]

pf.

Other versions: 32 (voice, pf.)

Text: Knut Hamsun
Dating: [1927]

Sources

SourcesA

Print (PR 201)

B

Printing manuscript, manuscript copy (MS 32

A

Print (PR 201)

B

Printing manuscript, autograph (MS 33 2239)

C

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition

3030)
Bar

C

Draft (MS 32 2126)

D

Printed text, Folkehøjskolens Sangbog, OdensePart

1926, eleventh edition
Bar

Part

1-2

voice

Comment
A: Nr. 23.; B: 418.; 23 added in blue
crayon; C: Varmt og ildfuldt; Vi nævner et Navn Tillæg til Folkehøjskolens
Melodib added in pencil (Emil Telmányi); D: I “Bjørnstjerne Bjørnson,
Festskrift i Anledning af hans 70 Aars
Fødselsdag. Hilsen” 1902, 1. afsnit.
det syder imod emended to syder dermod as in D

203 “Havet omkring Danmark”
pf.
Text: L.C. Nielsen
Dating: [1927]
Other versions: 31 (voice, pf.), 367 (SSA)
Sources

Stanza Line
1
6

Print (PR 201)

B

Printed text, Folkehøjskolens Sangbog, Odensepf.
Text: Jeppe Aakjær
Dating: [1927]
Other versions: 107 (voice, pf.), 344 (SA)
SourcesA

Print (PR 201)

B

Printing manuscript, autograph (MS 33 2041)

C

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh editionPart

1926, eleventh edition
Bar

Part

Comment
A: Nr. 29.; B: “Havets sang”, fra skuespillet “Willemoes”, 1908. Hermed rettelser fra “Udvalgte Digte” 1918, s. 171.

Comment
som krokus en og blå emended tosom krokus og blå

205 “Der dukker af disen”

Bar

A

Comment
A: Nr. 32.; B: No 460; 32 added in blue
crayon (compositor); C: “Sjælland”
fra saml. “Digte” 1895. 4-linj. vers.

Comment
A: Nr. 34.; B: No 472.; 34 added inblue crayon (compositor); C: V.
1-81/2: 20/4 1901, slutningen: 10/11
1904. Fra “Fri Felt, en Digtsamling. Jylland” 1905, s. 7-11. Her med en enkeltændring fra “Samlede Digte” I, 1920

206 “Kan I mærke”
pf.

Stanza Line
2
3

Comment
skumbesatte kløfter emended toskumbesatte kyster according to 31

Dating: [1927]
Sources

204 “Vi sletternes sønner”
pf.
Text: Ludvig HolsteinCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 470

Text: Jonas Gudlaugsson

A

Print (PR 201)

B

Fair copy (MS 32 3019)

470

22/02/09 8:32:24

C

Printing manuscript, manuscript copyC

(MS 32 3020)

Printing manuscript, manuscript copy
(MS 32 3032)

D

Draft (MS 33 2043)

D

Draft (MS 33 2043)

E

Printed text, Folkehøjskolens Sangbog, OdenseE

Printed text, Folkehøjskolens Sangbog, Odense

1926, eleventh edition
Bar

Part

8

1926, eleventh edition

Comment
A: Nr. 41.; B: No526; C: No526; 41
added in blue crayon; D: No 526;
Tillæg til F. and Kan i mærke det
lysner added in pencil (Emil
Telmányi); No 41 added in pencil(CN); E: “Det nye Ord”, i: “Viddernes
Poesi”, Kbh., 1912, s. 85. Orig. på
dansk. – 14 og 64 opr.: “... vi Børn af énRace”.
B: third crotchet: c; C: third
crotchet: e added in pencil

pf.2

Bar

Part

6

pf.1

Comment
A: Nr. 58.; B: No 626.; C: No 626.; 58
added in blue crayon; D: No 626; Vinden er så føjelig and Tillæg 58 addedin pencil (Emil Telmányi); E: “Frisk
Morgen”. I “Sange ved Havet” 1877.
chord 1: a' , c'' emended to f' , c'' asin B, C

209 “Mit hjem, hvor mine fædres fjed”
pf.
Text: Peder Rasmussen Møller
Dating: [1927]

207 “Frydeligt med jubelkor”
pf.
Text: Morten Børup

Sources

Dating: [1927]

A

Print (PR 201)

Other versions: 347 (SA), 387 (SSA)

B

Fair copy (MS 32 3021)

C

Draft (MS 33 2043)

D

Printed text, Folkehøjskolens Sangbog, Odense

Sources

1926, eleventh edition

1

A

Print (PR 20 )B

Printing manuscript, manuscript copy
(MS 32 3033)

C

Bar

Part

6

pf.2

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition

Bar

Part

Comment
A: Nr. 56.; B: 56 added in blue crayon; 623 added in pencil; C: F. Moths
oversættelse (1895) af hans majvise: “Invernalis temporis ( : 1500)”. Tr. i Moth:“Vagantviserne” 1913, s. 274.

210 “Der er en gammel rønne”
pf.
Text: Mads Hansen

208 “Vinden er så føjelig”

Dating: 25.11.1926

pf.
Text: Holger Drachmann

Sources

Dating: [1927]
SourcesA

Print (PR 201)

B

Fair copy (MS 32 3031)

A

Print (PR 201)

B

Fair copy (MS 32 3013)

C

Printing manuscript, manuscript copy
(MS 32 3014)

DCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 471

Comment
A: Nr. 72.; B: No 655; C: No 655; Mithjem hvor mine Fædres Fjed addedin pencil (Emil Telmányi); D: “MitHjem”. Fra hans digtsamling: “Hvor
Ageren grønnes” 1916, s. 7. En enkelt
rettelse her.
B: chord 2 note 2: 

Draft (MS 33 2043)

471

22/02/09 8:32:24

E

Printed text, Folkehøjskolens Sangbog, Odense

Sources

1926, eleventh edition

A

Print (PR 201)

B

Printing manuscript, autograph (MS 33 2229)

C

Printed text, Folkehøjskolens Sangbog, Odense

Bar

Part

10

pf.1

Comment
A: Nr. 74.; B: No 659.; C: No 659.; 74
added in blue crayon; D: Med etvist Lune og No 659; Tillæg til F.H.MB
added in pencil (Emil Telmányi);
E: “Den Villeste” 1880, Ms. H.s sidste
sang; her fra “Mads Hansens: Udvalgte Digte og ny ved Ejnar Skovrup”
1923, s. 100.
B, C: second crotchet: double
stems, downwards stem acrotchet

1926, eleventh edition
Bar

Part

Comment
A: Nr. 85.; B: No 682; 85 added inblue crayon (compositor); C: “Stambogsstykke, til en Ungersvend ved hans
Udgang i Verden”. “Nordlyset” X, juni
1829, s. 205, 1, 2; 6, 7; 10, 11; 13, 15; 16,
17 af digtets tolinjede vers.

213 “I solen går jeg”
211 “Om strømmen mod dig bruser”

pf.

pf.

Text: Ludvig Holstein

Text: Steen Steensen Blicher

Dating: [1927]

Dating: [1927]

Other versions: 14 (voice, pf.)

Sources

SourcesA

Print (PR 201)

A

Print (PR 201)

B

Fair copy (MS 32 3024)

B

Printing manuscript, autograph (MS 33 2191)

C

Printing manuscript, manuscript copyC

Printed text, Folkehøjskolens Sangbog, Odense(MS 32 3025)

1926, eleventh edition

D

Draft (MS 33 2043)

E

Printed text, Folkehøjskolens Sangbog, Odense

Bar

Part

5
11

pf.1
pf.2

1926, eleventh edition
Bar

Part

1

Comment
A: Nr. 83.; B: No 679.; C: No 679.; 834
added in blue crayon; D: 679; Tillæg
83 Folkehøjsk. added in pencil (Emil
Telmányi); E: Udtog af det ikke
versformede digt: “Til en haabefuld
men tungsindig Yngling”. I “Læsefrugter” IX 1820, s. 220, og i “Sneeklokken”
1826, s. 86.
32
B: time signature  4 4 ; C: time
3 24
4signature:

S E PA R A T E

Comment
A: Nr. 94.; B: No 727.; 94. added inblue crayon (compositor); C: “Sangbag ploven”. I saml. “Digte” 1895, s. 44.
chord 1: a , c' , f ' emended to a, c ' , f 'second minim: A - F emended to A
as in BS O N G S

214 Til mit Hjertes Dronning (“Skal vi vandre enStund”)
voice, pf.
Text: Caralis (Christian Preetzmann) after P.B.

212 “Ud går du nu på livets vej”
pf.

Shelley

Text: Steen Steensen Blicher

Dating: [ca. 1886-1887]

Dating: [1927]
Other versions: 88 (voice, pf.), 372 (unison song)

SourcesA

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 472

Fair copy, autograph (MS 332225)

472

22/02/09 8:32:25

B

Fair copy, autograph (MS 33 2224)

C

Manuscript copy (MS Ext. 9)DPrinted text, Caralis [Christian Preetzmann],Hundrede Digte, Copenhagen 1867, pp. 163-164

21
30

pf.1

ﬁfth semiquaver: b ' emended to b 'repeat sign added (as a consequence of the repeat sign in b.4)

216 Tag jer iagt for Anna! (“I Knøse! tag, det raader
jeg”)

Sources A, B only include stanza 1 with a somewhat

voice, pf.

incomplete punctuation at times. In these sources, a

Text: Caralis (Christian Preetzmann) after Robertrepeat mark indicates that Nielsen wished the songBurns

to be performed with the complete text which hence

Dating: [ca. 1886-1887]

has been added in accordance with D.
Bar
2-3

Part
pf.1

5
6
7
7

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

7
10-12

pf.2
voice

Comment
B: b.3 notes 1-2: slur; b.3 note 3:
stacc. (instead of slur bb.2-3)
B: chords 1-2: no b 
B: chord 2: E, e
B: chord 2: f' , a' , c''chord 1: wavy line added by analogy with pf.1
B: chord 2: F, f
B:
added inpencilSourcesA

Fair copy, autograph (MS 33 2224)

B

Printed text, Caralis [Christian Preetzmann],Hundrede Digte, Copenhagen 1867, p. 110

Source A only includes stanza 1 with a somewhat
incomplete punctuation at times. A repeat mark indicates that Nielsen wished the song to be performed
with the complete text which hence has been addedin accordance with B.

215 Serenade (“See! Luften er stille”)
voice, pf.

Bar
4

Part

19

voice

Text: Caralis (Christian Preetzmann) after Jeremiah Joseph Callanan
Dating: [ca. 1886-1887]
SourcesA

Fair copy, autograph (MS 33 2224)

B

Printed text, Caralis [Christian Preetzmann], Hun-

217 “Min Sjæl er mørk”
voice, pf.
Text: Caralis (Christian Preetzmann) after Lord

drede Digte, Copenhagen 1867, pp. 24-25

Byron
Dating: [ca. 1886-1887]

Source A only includes stanza 1 with a somewhat
incomplete punctuation at times. A repeat mark indicates that Nielsen wished the song to be performed
with the complete text which hence has been addedin accordance with B.
Bar
6

7

Part
pf.2

voice

SourcesA

Fair copy, autograph (MS 33 2224)

B

Printed text, Caralis [Christian Preetzmann],Hundrede Digte, Copenhagen 1867, p. 58

Comment
A: chords 1-2: changed from

Source A only includes stanza 1 with a somewhatb& b œœœ œœjœœ œ

incomplete punctuation at times. A repeat mark in-in pencil
A: note 3: d'' changed to c'' in pencil

with the complete text which hence has been added

dicates that Nielsen wished the song to be performed

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 473

Comment
repeat sign added at double bar (asa consequence of the repeat signin b.23)d emended to dim. by analogy withpf.

in accordance with B.

473

22/02/09 8:32:25

Bar
8
14

Part
pf.1
pf.1

14

pf.2

Comment
chord 4: d' emended to d 'chord 2: b ' emended to b ' by analogy with pf.2
A: note 2: changed from B , b  inpencilSourcesA

Draft (MS 33 2081)

B

Printed text, Christian Richardt, Texter og Toner,
Copenhagen 1868, pp. 13-15

Source A only includes stanza 1 which orthographi218 Vejviseren synger (“Tilfjelds over Bygden staar min

cally does not agree with the contemporary editions

Hu”)

of Christian Richard’s poem. The text has been added

voice, pf.

in accordance with B.

Text: J.S. Welhaven
Dating: [ca. 1886-1887]

220 “Alle de voksende Skygger”
voice, pf.

Sources

Text: J.P. Jacobsen

A

Dating: [ca. 1888]

Fair copy, autograph (MS 33 2225)

219a “Den gamle Skovvei huer mig vel”

Sourcesvoice, pf.

A

Fair copy, autograph (MS Ext. 10)

Text: Christian Richardt
Dating: [ca. 1886-1887]

Bar
12

Part
pf.2

SourcesA

Draft (MS 33 2082)

B

Draft (MS 33 2081)

C

Printed text, Christian Richardt, Texter og Toner,

23

Comment
chord 1:  emended to  (otherwise the metre of the bar does notagree)
ﬁnal bar line: single bar line
emended to double bar

221 Angst (“Hold fastere omkring mig”)

Copenhagen 1868, pp. 13-15

voice, pf.
Source A only includes stanza 1 which orthographi-

Text: Emil Aarestrup

cally does not agree with the contemporary editions

Dating: [ca. 1888]

of Christian Richard’s poem. The text has been added
Sourcesin accordance with C.

A
Bar
7-8

Part
voice pf.

Comment
A: changed in pencil frombb b b œ

œ

œ

rødt

det

spil - ler

paa

Lø

b œ
& b bb ˙

œ

œœ

œ
œ

œ

? bb b ˙œ
b

œ

œ˙

œ

œ

˙˙
˙
˙

&

œ
J

œ
J

œ

˙
-

Fair copy, autograph (MS 33 2009)

Bar
2
6

Part
pf.2
pf.1

9
12

pf.1
voice

16

pf.1

21
22

pf.2
pf.2

vet

œœ
œœ

219b “Den gamle Skovvei huer mig vel”
voice, pf.
Text: Christian Richardt
Dating: [ca. 1886-1887]

Comment
slur added by analogy with b.6
lower part: slur added by analogy
with b.2
lower part: note 5: added
A: changed from#& # œ # œ œJ œJin pencil
A: lower part, note 1 (d' ) may beread as  or 
slur added by analogy with pf.1
A: changed from? # œ #œ˙

in pencil

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 474

474

22/02/09 8:32:25

32
33
38

pf.2
pf.1
pf.2

slur added by analogy with b.1
slur added by analogy with b.2
A: changed from? ## # #224 Fædrelandssang (“Du danske Mand! af al din Magt”)
voice, pf.

˙

Text: Holger Drachmann
Dating: 1906

in pencil

Other versions: 167 (pf.), 300 (SATB), 320 (TTBB),
339 (SA), 391 (SSA)

222 I Drømmenes Land (“Det er herligt at leve iDrømmenes Land”)

Sourcesvoice, pf.

A

Print, ﬁrst edition (PR 21)

Text: J.P. Jacobsen

B

Printing manuscript, autograph (MS 33 2076)

Dating: 1891

C

Draft (unison song) (MS 33 2079)

D

Print (PR 88)

E

Print (PR 213)

Bar
4

Part
voice

7-8

voice

10-20

voice

15

voice

16

voice

17, 19voice

SourcesA

Rejected ﬁrst proof (MS 33 2114)

B

Fair copy, incomplete autograph (MS 33 2094)

C

Printed text, J.P. Jacobsen, Digte og Udkast, Copenhagen 1886, pp. 31-33

Bar
10

Part
pf.1

11

pf.2

12
19
27
37-39

pf.1
voice
voice
pf.1

59

pf.2

Comment
chord 1-9: e '' emended to e '' byanalogy with voice and pf.2
upper part note 6: e ' emended to e 'by analogy with pf.1
chord 9: a'' emended to a ''Blad emended to Bad as in C
Jord, added as in C
b.37 note 10 to b.39: stacc. addedby analogy with b.37 notes 1-9
chord 1: ten. added by analogy
with b.60

223 “Aldrig hans Ord kan jeg glemme”
voice, pf.
Text: Frederik Paludan-Müller
Dating: [1893]

225 “Jeg synes om din lette Gang”
voice, pf.
Text: Carl Nielsen

SourcesA

Draft, revised version (MS 332005)

B

Draft, early version (MS 332004)

C

Printed text, Frederik Paludan-Müller, Adam
Homo. Et Digt. Tredie Deel, Copenhagen 1849, p. 131

The vocal scoring in A is sporadic and hence provided by employing B. The text in both A and B is

Dating: 11.07.1906
SourcesA

Fair copy, autograph (MS Ext. 11)

B

Draft (MS 33 2130)

Bar
5

Part
voice

6
9

pf.1
pf.

incomplete and has therefore been added in accordance with C (see facsimiles of A and B, pp. 159-161).

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 475

Comment
B: stanza 2: bliv changed in pencil
to blir
B: stanza 1: Krans af Hav og Fjord
blev lagt om changed in pencil to
sølvblaa Krans af Hav lagt om
B: stanza 3: Har Bonden pløjet Landet,
Saa mødes han med Vandet: Dér ta’r den
danske Sømand som Vikingen støt sin
Vagt, som Vikingen støt sin Vagt changed in ink (CN) to Og furer Ploven
Landet, saa skurer Kølen Vandet, Støt
staar den danske Sømand paa Havet sin
Viking-Vagt, paa Havet sin Viking-Vagt.
B: stanza 2: straaler changed inpencil to lyser
B: stanza 2: som changed in pencil
to fraB: stanza 2: lyse changed in pencil
to dyreComment
note 3: a' emended to a ' as in B
and by analogy with pf.1
chord 1: stacc. added as in B
poco added by analogy with voice475

22/02/09 8:32:26

226 Afholdssangen (“Frem til Frihed til Lys og til Lykke”)

229 Paaske-Liljen (“Paaskeblomst, en Draabe stærk”)

pf.

voice, pf.

Text: Moldberg-Kjeldsen

Text: N.F.S. Grundtvig,

Dating: 30.05.1909

Dating: [1910]
Other versions: 146 (pf.), 324 (TTBB)

SourcesA

Fair copy, autograph (MS 33 2001)

Sources

B

Draft (MS 33 2002)

A

Fair copy, autograph (MS 33 2182)

C

Letter from Carl Nielsen to Moldberg-Kjeldsen,

B

Text (324)31.05.1909, Breve, vol. 3, letter No. 709
D

Printed text, Folkevennens Sangbog. Udgivet af Dan-

Source A only includes stanza 1; hence stanzas 2-3

marks Afholdsforening, Copenhagen 1917, p. 61

have been added in accordance with B.

Source A only includes stanza 1; hence stanzas 2-4

230 Børnehjælpsdagens Sang (“Vi Børn, vi Børn, vi

have been added in accordance with D.

vaagner”)

Bar
4

Part
pf.1

Text: Johannes Jørgensen

10
10

pf.1
pf.2

11-16

voice

pf.
Comment
A: chord 3: g' changed to b ' in blue
crayon as in C
A: chord 3:  changed to  as in C
chord 3:  emended to  by analogy with pf.1
D: stanza 1: Ja, og Vejen, vi maa gaa,som de stærke for de svage og de smaa,
som de stærke for de svage og de smaa.

Dating: 27.04.1911
Other versions: 305 (SATB), 325 (TTBB), 388 (SA)
SourcesA

Print, ﬁrst edition (PR 24)

B

Printing manuscript, autograph (MS 33 2021)

C

Draft without text (MS 33 2024)

227 De unges Sang (“Vi ﬁk ej under Tidernes Tryk”)
pf.
Text: Jens Christian Hostrup

Bar
6
7

Part
pf.2
pf.2

Comment
B: chord 1: f, a
B: fourth semiquaver: b , d'Dating: 1909
Other versions: 155 (pf.), 323 (TTBB), 360 (SSA)

231 Katholsk Ungdomssang (“Velsignet være du, vor
Herre Gud”)

Sourcespf.

A

Print, ﬁrst edition (PR 22)

Text: Johannes Jørgensen

B

Fair copy (unison song) (MS 33 2235)

Dating: 24.05.1913

C

Fair copy (unison song) (MS 32 3012)
Sources228 Halloges Sang (“Min Hjelm er mig for blank ogtung”)A

Print, ﬁrst edition (PR 25)

B

Sketch (MS 33 3070)

voice, pf.
Text: Adam Oehlenschläger

232 “Alt paa den vilde Hede”

Dating: 1910

voice, pf.
Text: N.F.S. Grundtvig

Sources

Dating: [1913]

A

Print, ﬁrst edition (PR 23)

Other versions: 39 (pf.)

B

Draft (MS 33 3034)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 476

476

22/02/09 8:32:27

5

SourcesA

Fair copy, autograph (MS 32 3085)

B

Text (39)

Source A only includes stanza 1; hence the text has

pf.1

B: second to third minim:b& b b ˙˙ ..

œœ235 “Som Dug paa slagne Enge”

been added in accordance with B.

pf. / SATB
Text: N.F.S. Grundtvig

233 “Fredlys din Jord, Du danske Mand”

Dating: [1915]

voice, pf.
Text: Anders W. Holm

Sources

Dating: 1914

A

Draft without text (MS 33 2068)

Other versions: 326 (TTBB)

B

Fair copy without text, partly autograph(MS 33 2203)

SourcesC

A

Print, ﬁrst edition (PR 26)

B

Print (PR 88)

Printed text, Psalmebog for Kirke og Hjem, Copenhagen 1911, p. 433

There are two versions of the song, one by Nielsen
234 “Est du modfalden, kære Ven”

(A) and another by Paul Hellmuth (B). The present

pf. / SATB

edition presents Nielsen’s version. Neither A nor B

Text: N.F.S. Grundtvig

include text underlay and hence the text has been

Dating: 18.03.1915

added in accordance with C.

Sources

236 Barnets Sang (“Kom, i Dag maa alle synge”)

A

Draft without text (MS 33 2068)

pf.

B

Draft without text (MS 33 2069)

Text: Johannes Dam

C

Fair copy without text, partly autograph

Dating: 1915

(MS 33 2070)

Other versions: 389 (SA)D

Printed text, Psalmebog for Kirke og Hjem, Copenhagen 1911, pp. 595-596

SourcesA

Print, ﬁrst edition (PR 27)

There are three versions of the song of which two

BPrinting manuscript, autograph (MS 33 2013)nearly identical are by Nielsen (A, B) and one by PaulC

Fragment (5 bars) of a fair copy without text,

Hellmuth (C). The present edition presents Nielsen’s

autograph (MS 33 2016)

most likely latest version. Neither A, B nor C include
text underlay and hence the text has been added in

237 Ariels Sang (“Selv naar Tordenen tynger”)

accordance with D.

voice, pf.
Text: Helge Rode

Bar
1

Part
pf.

Comment
B: second to third minim:b& b b ˙˙ .
.

œœSources? bb ˙˙ ..
b

œ
œ

A

Print, ﬁrst edition (PR 28)

B

Printing manuscript, autograph (MS 33 3009)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 477

Dating: 1916

477

22/02/09 8:32:27

Bar
18-19

Part
pf.

II

pf.2

24

Comment
open slur emended to slur; A, B:
bb.19-20: change of system
stacc. added by analogy with pf.1

240 Blomstervise (“Danmarks Sommer gik sin Gang”)
voice, pf.
Text: Ludvig Holstein
Dating: [1917]

238 Studie efter Naturen (“Solen skinner i Naboens
Gaard”)

Sourcesvoice, pf.

A

Manuscript copy (MS 33 2018)

Text: H.C. Andersen

B

Draft, bb. 1-45 (MS 33 2017), bb. 46-51

C

Manuscript copy (MS 33 2019)(MS 33 2110)

Dating: 1916
SourcesA

Print, ﬁrst edition (PR 29)

The discrepancies between A and B suggest that A

B

Printing manuscript, autograph (MS 33 2213)

may have been drafted based on an autograph faircopy, the location of which is unknown. Source C has

Bar
1
8

Part
pf.
pf.

25

pf.

26
49
50

pf.
pf.
pf.

Comment
added as in B
B: rit. added in pencil (foreign
hand)
moved from b.24 to b.25
as in Badded as in B
dim. omitted as in B
B: rall.

presumably been drafted employing the same source
as A, but containing several errors; hence this source(C) has not been taken into consideration. Regarding
orthography source B has been followed.
Bar
1
2
7-9

Part

11

pf.1

12

pf.1

14-15
16
17-18
18
21-23

pf.

25
26
29
30
36
42-43

pf.
pf.1

pf.
pf.

239 “Og jeg vil drage fra Sydens Blommer”
voice, pf.
Text: Holger Drachmann
Dating: [1916]
Other versions: 421 (unison song)
SourcesA

Fair copy, autograph (MS 33 2175)

B

Draft (MS 33 2176)

C

Printed text, Holger Drachmann, Samlede poetiske
Skrifter, Copenhagen 1906-1909, vol. 4, pp. 26-27

Bar

Part

Stanza Line
3
6
5

Comment
B: notated in E major
Comment
Vinden emended to Vinter as in C
stanza 5 added as in C (Nielsen
has presumably overlooked thisﬁnal stanza which is placed on theverso of a folio)

48-49

pf.1

pf.1
pf.2
pf.

Comment
B: Allegro
B: instead of
B: b.7 last quaver: ; b.8: ﬁrst
quaver:, third quaver: , fourth
quaver, sixth quaver: ; b.8:
ﬁrst quaver:chord 2: c '' emended to c'' as in B
and by analogy with voice
chord 2: g ' emended to g' as in B
and by analogy with voicestacc. added by analogy with bb.2-13
B: calando instead of poco rall.
B: =B: no Menob.21 chord 2 to b.23: stacc. added byanalogy with b.20 to b.21 chord 1
B:
instead of
B: chord 1:
B: rall.
stacc. added by analogy with pf.2
chord 3: b emended to b  as in B
stacc. added by analogy with bb.3141
B: Presto instead of hurtigt








z












241 Christianshavn (“Kong Christian stod paa Slotsholmens Grund”)
pf.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 478

478

22/02/09 8:32:28

Text: Ove Bauditz

Sources

Dating: 1918

A

Draft and text (MS Ext. 12)

B

Manuscript copy (MS 33 2037)

C

Text (139)

SourcesA

Print, ﬁrst edition (PR 30)

B

Draft without text, B  major (MS 33 2027)

In A Nielsen has written the text to the stanza 1
using modern orthography, while in an appendix

242 Danmark (“Vi elsker vort blomstrende

including the remaining stanzas he has employedFædreland”)

old orthography. The text is here reproduced withvoice, pf.

old orthography corresponding to the version for

Text: Axel Juelvoice and pf. (C) that was drafted around the same

Dating: [1919?]

time as A.

Other versions: 253 (pf.), 341 (SA)245 “Sof sött, du lilla Sonja!”
Sourcespf.

A

Fair copy without text, autograph (MS 33 2028)

Text: Carl Nielsen?

B

Draft, pf. (MS 33 2110)

Dating: 01.03.1922

C

Printed text, Axel Juel, Sange om Dannebrog,
Copenhagen 1919, pp. 7-8

SourcesA

Fair copy, autograph (MS 33 2200)

Source A does not include text underlay and hence
the text has been added in accordance with C.

246 Sang for Dansk Arbejde (“Føden og Klæden, Baadenog Teltet”)

243 Gry (“Mørket viger, Dagen stiger”)

pf.

pf.

Text: Valdemar Rørdam

Text: Hansigne Lorenzen

Dating: 1923

Dating: 1919
Sources
SourcesA

Print, ﬁrst edition (PR 32)

A

B

Draft (MS 33 2192)

B

Print, ﬁrst edition (PR 31)
Print, unison song and text in Hansigne Lorenzen [Sven Tange], Arveguld. Et symbolsk Digt bygget

247 “Du frie, danske Tunge”

over Guldhornsfundet i Sønderjylland, Copenhagenpf.

1919, pp. 7-9

Text: Johan Brydegaard
Dating: 1923

Bar
4

Part
voice

Comment
i emended to mod as in B

244 “Det danske Brød paa Sletten gror”
pf.

SourcesA

Print, ﬁrst edition (PR 33)

B

Draft without text (MS 33 2237)

C

Text: Jeppe Aakjær
Dating: 18.07.1921

kobsen, Copenhagen [1923], seventh edition, p. 45

Other versions: 139 (voice, pf.)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 479

Printed text, Syng dig glad! Et Sanghæfte for Højskolen
i Ry, men ogsaa for andre i Land og By, ed. Peder Ja-

479

22/02/09 8:32:28

Source A only includes stanza 1 and hence stanza 2
has been added in accordance with C.
248 Julesang (“Kom, Jul, til Jord, kom, høje Gæst”)
pf.

Bar
1
14
18
19
21

Part

Comment
D: Tempo giusto  = 100
B, C, D: chord 2: c, e' instead of c, c'
B, C: upper part notes 1-3: marc.
D: upper part:   B, D: upper part:  

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

Text: Johannes Wiberg
251 Balladen om Bjørnen (“De dræbte Bjørnens Unger”)

Dating: 18.10.1923

voice, pf.
Sources

Text: Aage Berntsen

A

Print, ﬁrst edition (PR 34)

Dating: 09.01.1924

B

Printing manuscript, autograph (MS 32 3056)

C

Manuscript copy (MS 32 3018)

SourcesD

Manuscript copy (voice, pf.) (MS 32 3056)

A

Print, ﬁrst edition (PR 37)

E

Draft (MS 33 2142)

B

Printing manuscript, manuscript copy

F

Text folio (MS 32 3018)

Bar
1

Part
pf.2

4

pf.2

(MS 33 2012)

Comment
upper part: note 1:  emended to 
as in B, C, D
B, C, D: chord 3: a instead of A, a

249 Julesang (“Himlen mørkner stor og stum”)
pf.
Text: Mogens Falck

C

Fair copy, autograph (MS 33 2010)

D

Draft (MS 33 2011)

Bar
+1
1

Part
pf.2

11

pf.2

30-31

pf.1

38-39

pf.1

50

pf.

53

pf.2

59
61-62

pf.2
voice

Dating: 1923
SourcesA

Print, ﬁrst edition (PR 35)

B

Text folio, partly autograph (MS Ext. 13)

Bar
1

Part
voice

Comment
B: straaler instead of mørkner

pf.

chord 3: upper part: A emended to
B  as in B, C, D
chord 3: A emended to A as in C, D
C:

strei - fer Dy - rets Skind, men

Text: Emil Bønnelycke‰ b œR œ ‰ œR œ œ œ ‰ ~R
R R R
ram - mer

Pi - ge - bry - stetchanged in pencil (CN) tonœ œ œ
& œJ . n œR J n J ‰ œJ

Dating: 1923

strei - fer Dy - rets Skind, men

SourcesA

Print, second edition (PR 362)

B

Print, ﬁrst edition (PR 361)

C

Fair copy, autograph (MS 33 2101)
Draft without text (MS 33 2228)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 480

notes 1-4: œ œ œ œ emended to œ œ œ œ
as in C& œJ . b œR œJ œJ b œ ‰ œJ

250 Hjemlige Jul (“Hjemlige Jul, straaler Du nu!”)D

Comment
C: Poco moderato ( = 96)
chord 3: marc. added as in C and byanalogy with pf.1
lower part notes 2-4: C - A' - D
emended to C  - A' - D  as in B, C
b.30 chord 2 to b.31 chord 1: open
slur emended to slur; A: bb.30-31:
change of systemb.38 last note to b.39 ﬁrst note: tie
added in B, C, Dbœ‰ œR œR ‰ R œ œ œ ‰ ~RRR
ram - mer

Pi - ge - bry - stetD:& œJ . b œR œJ œJ b œ ‰ œJ
strei - fer Dy - rets Skind, men

64

pf.2

69

voice

‰ b œR œ ‰ œR œ œ œ ‰ ~R
R R R
ram - mer

Pi - ge - bry - stetten. and stacc. added as in C and byanalogy with pf.1
C: note 5: ten.

480

22/02/09 8:32:28

71-72

pf.1

73-74

pf.1

76
pf.1
76
pf.2
94-121 pf.2

95
112

pf.1
pf.2

120
pf.2
122-123 pf.2

C: b.71 chord 1 to b.72 chord 6:
marc.
C: b.73 chord 1 to b.74 chord 3:
marc.
trem. added
C: chord 1: ten, chords 2-4: marc.
B: b.94 second minim to b.121:
rhythm changed in pencil (CN)from  to   ; C: b.94 second
minim to b.121: rhythm: chord 4: ten. added
chord 1: a emended to a as in B,
C, D
chord 1: B emended to B  as in B, CC:r
? b b n œœœ. ≈ ‰ b b œœ ≈ ‰ b œœr ≈ ‰ œrœ ≈ ‰ b œrœ ≈ ‰ ~
b
œ
œ.
œ.
R
> n œ.

125

pf.2

125

pf.2

(in B a deletion is clearly visible corresponding to the same bars in C)C:r? r ≈ ‰ b œœr ≈ ‰ œœr ≈ ‰ b b b œœœ ≈ ‰
œœœ
œ.
œ.
.
.

13

pf.2

14

pf.1

A: upper part: notes 3-4: changed
from  (a) in pencil (CN)
A: lower part: second to third
crotchet: changed from  (c' ) in
pencil (CN)253 Danmark (“Vi elsker vort blomstrende Fædreland”)
pf.
Text: Axel Juel
Dating: 10.01.1924
Other versions: 242 (voice, pf.), 341 (SA)
Sources
A: Draft without text (MS 33 2029)
B: Text (341)
Source A does not include text underlay and hence
the text has been added in accordance with B.
254 “Kær est du, Fødeland, sødt er dit Navn”(in B a deletion is clearly visible corresponding to the same bars in C)
chord 3: g ' , b', c' emended to g ' , b ' ,c ' as in B, C, D

voice, pf.
Text: Steen Steensen Blicher
Dating: [1923-1924]
Other versions: 343 (SSA)

252 “Lad en og anden have Ret”
pf.

Sources

Text: Peter Faber

A

Draft (MS 33 2145)

Dating: 15.01.1924

B

343 (SSA)

Other versions: 336 (SSA)C

Text (MS 33 2149)

Sources

In A the melody part contains a few rhythmic devia-

A

Fair copy, autograph (MS 32 3049)

tions in comparison to B. It must be assumed that

B

Draft (MS 33 2145)

B represents the composer’s ﬁnal version of theC

Text (336)

melody. Source A includes only sporadic text underlay. The melody part and text are therefore added in

Source A only includes stanza 1 and hence stanzas

accordance with B.

2-6 have been added in accordance with C.
Bar
1

Part
pf.1

1

pf.2

3

pf.2

Comment
A: lower part note 2-3: a - a changed
to b ' - c' in pencil (CN)
A: notes 1-3: F - f changed to F - G - A
in pencil (CN)A: changed from? b ˙˙

Bar
+1

Part
voice

4

voice

5

voice

Comment
notes 1-2:  emended toin Bnotes 4-5:  emended toin Bnotes 5-6:  emended to
in B

as
as
as

˙
˙

in pencil (CN)Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 481

481

22/02/09 8:32:29

255 “O, hvor jeg er glad i Dag!”

It must be assumed that B represents the compos-

pf.

er’s ﬁnal version of the melody. Source A does not

Text: Michael Rosing

include text underlay. The melody part and text have

Dating: [1923-1924]

therefore been added in accordance with B.

Other versions: 190 (voice, pf.), 352 (SA)258 “Vældige Riger rives om Jorden”
Sourcespf.

A

Draft without text (MS 33 2172)

Text: Ahrent Otterstrøm

B

Draft (unison song) (MS 32 3082)

Dating: [1923-1924]

C

Text (352)Other versions: 366 (SSA)

Source A does not include text underlay and hence

Sources

the text as been added in accordance with C.

A

Draft without text (MS 33 2201)

B

Text (366)256 “Tyst som Aa i Engen rinder”
pf.

Source A does not include text underlay and hence

Text: Helge Rodethe text has been added in accordance with B.

Dating: [1923-1924]
Other versions: 184 (voice, pf.), 355 (SSA), 395 (SA)259 “Solen er saa rød, Mor”
pf.

Sources

Text: Harald Bergstedt

A

Draft without text (MS 33 2029)

Dating: [1923-1924]

B

Draft (unison song) (MS 32 3082)

Other versions: 183 (voice, pf.), 374 (SSA)C

Text (355)
Sources

In A the melody part contains an insigniﬁcantA

Draft without text (MS 33 2201)

number of rhythmic deviations in comparison to C.

B

Text (374)It must be assumed that C represents the composer’s
ﬁnal version of the melody. Source A does not in-

Source A does not include text underlay and hence

clude text under lay. The melody part and text havethe text has been added in accordance with B.

therefore been added in accordance with C.
260 “Naar Smaabørn klynker ved Aftentide”
pf.

257 “Byg paa Sletten, ej paa Tinden”
pf.

Text: Christian Dabelsteen

Text: Zakarias Nielsen

Dating: [1923-1924]

Dating: [1923-1924]

Other versions: 376 (SA)Other versions: 364 (SA)
Sources
SourcesA

Fair copy, autograph (MS 33 2159)

A

Draft without text (MS 33 2201)

B

Draft without text (MS 33 2206)

B

Text (364)C

Text (376)

In A the melody part contains an insigniﬁcantSource A only includes text underlay of stanza 1 andnumber of rhythmic deviations in comparison to B.

hence the text has been added in accordance with C.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 482

482

22/02/09 8:32:30

261 “Det vi véd, at siden slangens gift”

264 “Den gamle Husmand staar ved Gavl”

pf.

pf.

Text: Jens Christian Hostrup

Text: Johan Skjoldborg

Dating: [1923-1924]

Dating: 19.05.1926
Other versions: 410 (unison song)

SourcesA

Draft without text (MS 33 2049)

SourcesB

Text (MS Ext. 14)

A

Draft without text (MS 33 2126)B

410 (unison song)

Source A does not include text underlay and hence
the text has been added in accordance with B.

Source A does not include text underlay and hence
the text has been added in accordance with B.

262 “Der er et yndigt Land”
pf.
Text: Adam Oehlenschläger
Dating: [1923-1924]
Other versions: 291 (voice, orchestra), 307 (SATTB),

Bar
1

Part

CommentJævnt added as in B

265 “Hver har sit, du har dit”
pf.

308 (SATB), 329 (TTBB), 334 (SSA), 394 (SSAA)

Text: L.C. Nielsen
Dating: 27.05.1926

Sources

Other versions: 411 (unison song)

A

Print, ﬁrst edition (PR 38)

B

Printing manuscript, autograph (MS 33 2044)

263 “Jeg kører frem gennem Straalefryd”
pf.
Text: Bjørnstjerne Bjørnson
Dating: [1926]
Other versions: 397 (SA), 412 (unison song)

SourcesA

Draft without text (MS 33 2126)B

411 (unison song)

Source A does not include text underlay and hence
the text has been added in accordance with B.
Bar
1

SourcesA

Draft without text (MS 33 2126)B

412 (unison song)

Part

Comment
Marsch emended to Marchtempo as
in B

266 “I kølende Skygger”
In A the melody part contains an insigniﬁcantvoice, pf.

number of rhythmic deviations in comparison to B.

Text: Johannes Ewald

It must be assumed that B represents the composer’s

Dating: [1926]

ﬁnal version of the melody. Source A does not in-

Other versions: 281 (pf.), 408 (unison song)clude text underlay. Both melody part and text havetherefore been added in accordance with B.
Bar
1
16

Part
pf.

Comment
Mildt added as in B
last chord:  emended to  as in B

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 483

SourcesA

Draft without text (MS 33 2115)

B

Manuscript copy (MS Ext. 15)

C

408 (unison song)483

22/02/09 8:32:31

Source A does not include text underlay and hence
the text has been added in accordance with C.
Bar
1
1-4

Part
pf.2

Comment
Varmt og sværmerisk added as in B
open slur emended to slur; A: bb.45: change of system

267 Vocalise-Étude

Comment
var emended to vær as in C, E

269 “Den trænger ud til hvert et sted”
pf.
Text: Jens Christian Hostrup
Dating: 29.03.1928
Sourcesvoice, pf.
Dating: 17.07.1927
SourcesA

Print, ﬁrst edition (PR 39)

B

Draft (MS 33 2240)

A

Print, ﬁrst edition (PR 41)

B

Draft (MS 33 2123)

C

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition, No. 186, pp. 187-189

Source A only includes stanza 1 since a reference

268 Dansk Vejr (“Sus af Vind og Bølgeslag”)
pf.
Text: Ove Rodeis given to the text in Folkehøjskolens Sangbog; hencestanzas 2-6 have been added in accordance with C.
Bar
1Dating: 22.07.1927

Part

Comment
B: Med frejdig Alvor

270 “Jeg gik i marken og vogtede får”

SourcesA

Stanza Line2
7

Print, ﬁrst edition (PR 401)

pf.
2

B

Print, second edition (PR 40 )Text: N.F.S. Grundtvig

C

Printing manuscript, autograph (MS Ext. 16)

Dating: 02.04.1928

D

Draft (MS 33 2240)

E

Printed text, Sangbog udgivet af Det radikale Venstre

Sourcesog de radikale Ungdomsforeninger, Slagelse 1915,

A

Print, ﬁrst edition (PR 42)

pp. 8-9B

Printing manuscript, autograph (MS 33 2122)

Bar
4
8-9

Part
pf.1
pf.

Comment
chord 2: emended to  as in C
C: changed fromu#& # œœ .. œœ ˙
œ.

24

? ## œ . œ ˙24uin pencil (CN). The reversed pause
has been provided with the following footnote: En omvendt  betyder
Forkortelse af Noden. (efter Thomas
Laubs Forslag i hans Melodier) ‘Areversed  indicates a shorteningof the note. (in accordance with
Thomas Laub’s suggestion in his
melodies)’

C

Draft (MS 33 2123)

D

Printed text, Folkehøjskolens Sangbog, Odense
1926, eleventh edition, No. 240, pp. 257-258

Source A only includes text underlay of stanza 1 andhence the text has been added in accordance with D;
see C, where No. 240 is indicated at this song.
271 “Apostlene sad i Jerusalem”
pf.
Text: N.F.S. Grundtvig
Dating: 02.04.1928
SourcesA

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 484

Draft without text (MS 33 2123)

484

22/02/09 8:32:31

B

Printed text, Folkehøjskolens Sangbog, Odense

Sources

1926, eleventh edition, No. 261, pp. 294-295

A

Print, ﬁrst edition (PR 44)

B

Draft (MS 33 2238)

Source A does not include text underlay and is notated in F major; Nielsen himself, however, has added

275 “Tanker skal tændes og skride”

a G Dur and hence the song is here presented in G

pf.

major and with the text added in accordance with B;

Text: Hans Hartvig Seedorf Pedersen

see the addition No. 261 in A.

Dating: 6.8.1929

Stanza Line
6
3

Comment
B: jublebudSources272 Guldﬂoden (“Der strømmer en Flod mod det evige

A

Fair copy, autograph (MS Ext. 18)

B

Printed text, programme leaﬂet, Mødet med Jorden. Digtning ved Polyteknisk Læreanstalts 100-Aars

Hav”)

Fest 1829 30. August 1929

pf.
Text: B.S. Ingemann

Source A only includes text underlay of stanza 1 andDating: 1928

hence the text has been added in accordance with B.

Sources

Bar
15-16

A

Print, ﬁrst edition (PR 43)

B

Fair copy, autograph (MS 33 2092)

C

Draft (MS 33 2093)

D

Text (MS Ext. 17)

Part
voice

Comment
spirende emended to sejrende as in B

276 Hjemstavn (“Jeg vandrer over mine Fædres Jord”)
voice, pf.
Text: Frederik Poulsen
Dating: 30.10.1929

273 “Nu ruger paa Reden i Fjer og Straa”
pf.
Text: Ludvig Holstein

Sources

Dating: [1929]

A

Draft (MS 33 2102)

Other versions: 398 (SA)B

Printed text, Frederik Poulsen, Vi vandrer – Rejseskildringer og Skitser, Copenhagen 1926, pp. 7-8

C

SourcesA

Draft without text (MS 33 2164)

B

Printed text, Tillæg til Danmark, Sangbog for Skolen

Text, letter from Frederik Poulsen to Carl
Nielsen, undated (DK-Kk, CNA, I.A.b.)og Hjemmet, ed. Albert Jørgensen, Copenhagen

Source A only includes stanza 1 which comprises the1928, pp. 24-25

ﬁrst two stanzas of Frederik Poulsen’s poem. A repeat
mark after the ﬁnal bar clearly shows that Nielsen

Source A does not include text underlay and hence

wished the song to be performed with the complete

the text has been added in accordance with B.

text. However, Frederik Poulsen’s poem consists ofseven stanzas and hence it has been necessary to cut

274 Vi Jyder (“Vi er Jyder, Børn af Landet”)

the text by one stanza, that is, stanza 6:

voice, pf.
Text: Vilhelm From Bartrumsen

Nu er den Viljen, denne dunkle Lund,

Dating: 1929

der suger sig af Jord og Regnskyl sund,der ranker sig ved egne, indre Loveog hilser stolt paa andre, fjerne Skove.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 485

485

22/02/09 8:32:31

‘Now it is the will, this dark grove,

Dating: [1929]

Which draws sustenance from earth and rain,

Other versions: 401 (unison song)

Which raises itself up by its own inner laws
And proudly greets other distant woods.’
Bar
11

Part
pf.2

Comment
upper part: added

SourcesA

Draft without text (MS 33 2136)B

401 (unison song)

Source A only includes text underlay of stanza 1 and277 “Der går et stille tog”

hence the text has been added in accordance with B.

pf.
Text: Bjørnstjerne Bjørnson

Bar
1

Dating: 23.11.1929

Part

Comment
Med begejstret Sving added as in B

280 “Ind under Jul, hvor er det trist”

SourcesA

Fair copy, autograph (MS 33 2051)

pf.

B

Draft (MS 33 2301)

Text: Jonas LieC

Printed text, Folkehøjskolens Sangbog, Odense

Dating: [1929]

1926, eleventh edition, No. 207, p. 215

Other versions: 404 (unison song)

Source A only includes text underlay of stanza 1 andSourceshence the text has been added in accordance with C.

A

Print, ﬁrst edition (PR 46)

B

Draft (MS 33 2136)

278 “Fremtidens Land!”281 “I kølende Skygger”

pf.
Text: Bjørnstjerne Bjørnson

pf.

Dating: 28.11.1929

Text: Johannes Ewald
Dating: [1929]
Other versions: 266 (voice, pf.), 408 (unison song)

SourcesA

Print, ﬁrst edition (PR 45)

B

Fair copy, autograph (MS 33 2074)

SourcesC

Text (MS Ext. 19)

A

Print, ﬁrst edition (PR 47)

B

Draft (MS 33 2136)

Bar

Part

3-4

pf.2

Comment
B: notated in G majorB:#& ˙œ .
? # œœ

24

pf.

j
œ

œ
œœ

Bar
7-9

œœ œ œ œ œ
.
œ
˙˙ ..

B: 

8-9

279 “Morgenhanen atter gol”

Part
pf.1

#
& # œœœ œœ œœ œœœ œœœ œ˙˙œ œ œ œœ˙ œœ œœ? ## œ œ œ œ œ

˙

voice

Stanza Line
2
4

pf.

CommentB:˙œœ œœ œœ œœ œœ œœww

A: footnote to Camoenernes:
Musernes
Comment
A: footnote to Helsinges: Helsingborg

Text: N.F.S. Grundtvig

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 486

486

22/02/09 8:32:32

282 “Dannebrog, vift med din Vinge”
pf.

49-66

pf.2

60

voice

emended from one slur b.49 note
3 to b.66 by analogy with bb.45-48
dril emended to drill

Text: Steen Steensen Blicher
Dating: 1929

285 “Danmark, nu blunder den lyse Nat”

Other versions: 413 (unison song)pf.
Text: Thøger Larsen

Sources

Dating: 20.12.1929

A

Print, ﬁrst edition (PR 48)

B

Fair copy, autograph (MS 33 2034)

C

Draft without text (MS 33 2136)

Bar
1

Part
pf.1

Other versions: 399 (SA), 400 (SSA)

Comment
B, C: chord 3: a, d' , f'

283 “Har I nu Tænder i Riven sat”

SourcesA

Print, ﬁrst edition (PR 49)

B

Fair copy, autograph (MS 33 2031)

286 Gensyn (“Hvor blev den Blomst, som fyldte”)

pf.

pf.

Text: Jeppe Aakjær

Text: Frederik Paludan-Müller

Dating: [1929]

Dating: 4.1.1930

Other versions: 416 (unison song)
Sources
Sources

A1 Print, ﬁrst edition (PR 50)

A

Draft without text (MS 33 2136)

A2 Print, ﬁrst edition (MS Ext. 35)

B

416 (unison song)

B

Draft (MS 33 2085)

C

Draft (MS 33 2276)

Source A does not include text underlay and hence
the text has been added in accordance with B.

In A2 Nielsen has inserted a few partly, now blurredchanges in pencil, should the song be performed by

Bar
1

Part

Comment
Frisk tog djærvt added as in Ba choir.
287 Island (“I gamle Dage – for over hundred tusind

284 “Det är höst”

Aar tilbage”)

voice, pf.

pf., recitation

Text: Alma Rogberg

Text: Otto Lagoni

Dating: 7.12.1929

Dating: 29.1.1929

Sources

SourcesA

Fair copy, autograph (MS 33 2052)

A

Fair copy, autograph (MS 33 3005)

B

Draft, bb. 1-36 (MS 33 2136), bb. 37-66 (MS 33 3018)

B

Draft (MS 33 3006)

C

Manuscript copy (MS Ext. 20)

Bar

Part

16-44

pf.2

Comment
C: notated in E minor
emended from open slur b.16 note
2 to b.24 and open slur bb.25-44;
A: bb.24-25: page turn

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 487

Bar
16

Part
pf.2

17-19

pf.2

20

pf.2

Comment
lower part: note 4: G ' emended toE' as in B
open slur emended to slur; A:
bb.19-20: change of systemtrem. added

487

22/02/09 8:32:32

29
41-43

T O

A: above system (beginning of bar):
piano added in pencil (foreign hand)open slur emended to slur; A:
bb.43-44: change of systempf.

S A N G E

F R A

A D A MO E H L E N S C H L Ä G E R S‘ S A N C T

H A N S A F T E N S P I L’

11I, 11II
11I

A1 A2

11I
11I

pf.1
pf.1

11I
11II

pf.2
A1 A2

11II

pf.1

above top staff: rall. added by analogy with pf.
note 2: added by analogy with
S1, S2
top note:  emended to 
note 1:  added by analogy with
S1, S2, A1, A2
rest 1: emended to emended to  by analogy with
S1, S2lower part: stacc. added by analogy
with b.11I

Carl Nielsen’s fair copies are the only sources tothese two songs for choir and piano from Adam

289 “I Maaneskin titter”

Oehlenschläger’s play, Sanct Hansaften Spil. The sourc-

SSATTBB, and children’s choir, pf.

es were possibly employed during the rehearsals of

Text: Adam Oehlenschläger

the theatre version; the title pages seem to indicate,

Dating: [1913]

however, that Carl Nielsen had a publication of themin mind. The revision has mainly consisted in the

Sources

complementation of dynamics and articulation.

A

288 “I Skyggen vi vanke”

Bar
2-3

Part
børn

3
4
14-15

pf.1
S1 S2 A
børn

14-15

pf.2

15
20

pf.1
A

23

A

24

børn

24-25

pf.2

25-26

børn

25
29

pf.1
S1 S2 A T1
T2 B1 B2
A: in left margin: Bl. Kor ‘Mixedchoir’ added (CN)T1 T2
A: in left margin: 5/3 added inpencil (foreign hand)
B1 B2
A: in left margin: 4/5 added inpencil (foreign hand)

SSAA, pf.
Text: Adam Oehlenschläger
Dating: [1913]
Other versions: 89 (voice, pf.), 176 (pf.), 350 (uni-

Fair copy, autograph (MS 33 2117)

son song)
SourcesA

Fair copy, autograph (MS 33 2118)

Bar
1

Part
pf.1

1-12

A1 A2

1-12

A1 A 2

3
3
5

pf.
pf.1
pf.1

5

pf.2

8
8

S1 S2
pf.

9

A1 A2

Comment
note 4: c'' emended to d'' by analogy with pf.2
dynamic markings added by analogy with S1, S2
bb.1-12: notes with one stem
emended to notes with double
stems
added in pencil (CN)A:
note 5: stacc. omitted
chords 3-4 lower part: superﬂuous
slur omitted
chords 1-2, 3-4 lower part: superﬂuous slur omitted; chord 3: marc.
added by analogy with chord 1
A: note 6:
added in pencil (CN)A:
added in pencil(CN)
added by analogy with b.8 (S1,
S2)








Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 488

29
29

Comment
notes 1-3: stacc. added by analogy
with b.1
loco omitted
added by analogy with børn
notes 1-3: stacc. added by analogy
with bb.12-13
b.14 note 2 to b.15 note 1: slur
added by analogy with pf.1
loco omitted
stacc. added by analogy with b.21
notes 2-5
A: frit added in pencil (foreign
hand)note 4: b ' emended to b ' by analogy with pf.; note 5: ten. added byanalogy with b.23
slur emended from open slur;
A: end of slur open (change ofsystem)notes 1-3: stacc. added by analogy
with bb.23-24; note 5: ten. addedby analogy with b.23
loco omitted



488

22/02/09 8:32:32

30-38

børn

31
35

pf.1

39
39

39

notes 1-3: stacc. added by analogy
with bb.23-24; note 5: ten. addedby analogy with b.23
A: froe added in pencil (foreign
hand)
top note 5: slur added by analogy
with b.31
ﬁnal bar line: single bar line
emended to double bar line
A: in right margin: ect Efterspil
mangler ‘ect [etc] Postlude missing’
added (CN)vl.2

børn S1 S2
A T1 T2 B1
B2 pf.2
 added by analogy with pf.1

290 “Sænk kun dit Hoved, du Blomst”
voice, orch.
Text: Johannes Jørgensenva.

Dating: [1922?]
Other versions: 23 (voice, pf.)
SourcesA

Fair copy, autograph (MS 33 2218)

B

Manuscript copy, score and parts (MS 33 2219)

C

Print (voice, pf.) (PR 51)

D

Parts (MS Ext. 21)

vc.

Carl Nielsen’s fair copy of the score for orchestra (A)has been elected as copy text while the vocal parts(B) have been consulted in cases of doubt; they havebeen used in one instance on the basis of the com-

vl.1 vl.2
va. vc.
vl.1,2 va.

poser’s addition in the material. The printed edition
for song and piano (C) is the copy text as regards the
vocal part and the text.

Nielsen added in blue crayon; (vl.1
No.2): above system: Sænk kun addedin pencil; No 2 added in pencil (CN)and crossed out in red crayon; IV
added en red crayon; (vl.1 No.3):
above system: Sænk kun added inpencil; dit Hoved / Carl Nielsen addedin blue crayon; No 3 added in pencil(CN); III added in red crayon; (vl.1
No.4): above system: dit Hoved / Carl
Nielsen added in pencil
B (vl.2 No.1): above system: Carl
Nielsen / Sænk kun / 3 Vers added i
pencil; No 1 added in pencil (CN);
2 added in red crayon; (vl.2 No.2):
above system: Sænk kun added inpencil, 3 Vers, No 2 added in pencil(CN); 3 added in red crayon; (vl.2
No.3): above system: 1 added in red
crayonB (va. No.1): above system: Sænkkun added in pencil; No 1 addedin pencil (CN); 3 Vers added in red
crayon; (va. No.2): above system:Sænk kun dit Hoved added in pencil;
No 2 added in pencil (CN); 3 Vers
added in red crayon
B (vc. No.1): above system: Sænkkun added in pencil; No 1 added inpencil (CN); 3 Vers added in pencil;
Con sordino added in pencil and underlined in red crayon; (vc. No.2):
above system: Sænk kun added inpencil; 2 added in blue crayon;
below system: Bas tacet added in
red crayon
G major key signature added
A: above vl.1,2: *; below system:
# #
* & B
viol.

Bar

Part
ﬂ.1
ﬂ.2

fg.

vl.1

Comment(stille, inderligt) added as in C
B: above system: Sænk kun dit
Hoved, Sænk kun added in pencil
B: above system: Sænk kun det Hode,added in pencil; above system 3
Vers added in pencil
B: above system: 3, Sænk kun addedin pencil; below system: 3 Vers
added in pencil
B (vl.1 No.1): above system: Sænk kun
added in pencil; No 1 added in pencil (CN); II added in red crayon; Carl

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 489

1

vl.2

2
3-4

voice
vc.

4-5

ﬂ.1

4-7

fg.2

B (vl.2 No.2): (con sordino) added inpencil (CN)mezza voce added as in C
b.3 note 1 to b.4 note 2: sluremended from open slur; A: b.3
note 1 to b.4: end of slur open
b.4 note 1 to b.5 note 1: sluremended from open slur; A: b.5
note 1: beginning of slur open after
page turn; b.4 note 2: end of slur
open; b.4 note 1 to b.5 note 1: slurb.4 note 1 to b.7 note 2: sluremended from open slur by analogy with fg.1; A: b.4 note 1: end of489

22/02/09 8:32:33

4

va.

5
5

voice
vc.

6
6
6-7

fg.2
voice
va.

7
7
8
9-10
9
10
10
10-11
11
12

fg.1
fg.2
voice
ﬂ.1
voice

14
15
17
18
18
21

voice
voice
voice
voice
voice
voice

23
24
26
27
27-29

voice
voice
voice
voice
fg.1

ﬂ.1
ﬂ.1
voice
voice

29
29
30
30
30

fg.1
vl.2
ﬂ.
va.
vc.

30
30

fg.1
vl.1

30

vl.1

slur open (page turn); b.5 note 1 tob.7 note 2: slur
B (va. No.2): note 1: g changed to ain pencil
 emended from   as in C
notes 1-2: slur added by analogy
with va.
B: note 2:  added in pencil
espressivo added as in C
A: end of slur changed from b.7
note 4 to b.8 in ink
B:
B: note 1: added in pencil
poco rall. added as in C
B: b.9 note 1 to b.10 note 1: slura tempo added as in C
below system: 3 Verse omitted
B: note 2: added in pencil
B: b.10 note 2 to b.11 note 2: slur
added as in C
notes 1-2: slur omitted in accordance with the text in stanza 2
 emended from   as in C
espressivo added as in C
poco rall. added as in C
a tempo added as in C
added as in C
notes 1-2: slur omitted in accordance with the text in stanza 3;
note 2:  emended from  as in C emended from   as in C
mezza voce added as in C
poco rall. added as in C
a tempo added as in Cb.27 note 1 to b.29 note 1: sluremended from open slur in accordance with B; A: b.27 note 1 tob.28: end of slur open
superﬂuous dim omitted
dim. added by analogy with va., vc.
 emended from A:changed toin inkadded by analogy with vl.1,2,va.
B:  added in pencil
B (vl.1 Nos.1,2)changed toin pencil
B (vl.1 Nos.3,4):
instead of

Other version: 262 (pf.), 307 (SATTB), 308 (SATB),
329 (TTBB), 334 (SSA), 394 (SSAA)
SourcesA

1, 2, va., vc., cb., pf.), probably rehearsal material



















Draft without text (ﬂ., cl. (A), cnt. (A), trb. 1, 2, vl.
(MS Ext. 22)

B

Text (262)Carl Nielsen’s draft (A) has been elected as the copy
text for the music while the text and the vocal partare added in accordance with the version for pf., 262(B). The revision has mainly included complementing
dynamics and articulation by analogy.
Bar

Part

8
8
9

cnt. trb.
va.
trb. va.
vc. cb.

9-10
10
10
10

11

11

Comment
voice and text added in accordance with B( ) emended to
added by analogy with vl.1,2

cresc. added by analogy with theother parts
vc. cb.
added by analogy with
trb.
trb.1
added by analogy withﬂ., cl., cnt.
vl.1 va. pf.
added by analogy with
vl.2
vl.2
chords 1-2: slur added by analogy
with vl.1, va.; chords 1-2 bottom
notes: tie added because of slurcl.
note 1: marc. emended to ten. by
analogy with note 2 and notes 2-4(ﬂ.); notes 2-4: ten. added by analogy with ﬂ.
vl.1
notes 1-4: ten. added by analogy
with ﬂ. cl.

292 “Den Spillemand spiller paa Strenge”
voice, 3 vl.
Text: Mogens Damm



Dating: [1931]
Other versions: 186 (voice, pf.), 375 (SA)291 “Der er et yndigt Land”
voice, orch.

Sources

Text: Adam Oehlenschläger

A

Print (PR 51)

Dating: 28.1.1924

B

Fair copy, autograph (MS 32 3050)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 490

490

22/02/09 8:32:33

The elected copy text (A) was drafted on basis of the

Sourcesfair copy (B); the two sources have been collated andA

Print (PR 52)

the revision has mainly consisted in complementing

B

Printing manuscript, autograph (MS 33 2296)

dynamics and articulation by analogy.
Bar
+1
+1-12
+1-8

Part
vl.1
vl.1

1-6

vl.3

3
4-7
4-5
6
6-8
8
12

vl.2
vl.1
vl.2
vl.1
vl.2
vl.3

T O

S A N G E

V E DComment
stacc. added by analogy with b.1
staff for voice added
stanzas 1-3 omitted and added
below voice
b.1 note 1 to b.7 note 3: stacc.
added by analogy with vl.1, 2
stacc. added by analogy with bb.1-2
stacc. added by analogy with bb.1-3
stacc. added by analogy with b.2
stacc. added by analogy with b.3
stacc. added by analogy with bb.2-4
stacc. added by analogy with vl.2
B: ﬁnal bar line: F R A

A A R H U S

L I N G S

‘ K A N T A T E

Bar
1

Part
A

10

SATB

11
13-15

SATB
SATB

20
23

T O



S K O L E S A N G E

295 “Blomsterstøv fra Blomsterbæger”
SATB

L A N D S U D S T I L -Text: Viggo Stuckenberg

A A B N I N G S - H Ø J T I D E -L I G H E D

Comment
B: note 1: c '' changed to a' in ink(CN)second to third crotchet:added as in B
note 1: added as in B
man kan vide emended to man kan
lide in accordance with text incantata, see CNU III/2; B: vi kan lideinstead of man kan vide(bredt) emended to bredt
at bar line:  added as in B

Dating: May 1929

1 9 0 9 ’

Sources

293 “Skummende laa Havet”
SATB
Text: Olaf Hansen
Dating: [1913]

A

Print (PR 53)

B

Draft (MS 32 4008)

Bar
1

SourcesPart9, 11,
26, 28 A

A

Print (PR 52)

B

Printing manuscript, autograph (MS 33 2296)

C

Draft (MS 32 3048)

Comment
B: Blomsterblad instead of Blomsterstøv
notes 1-6: stacc. added by analogy
with S296 “Nu er for stakket Tid forbi”
Bar
2

Part
A

3

B

4

B

Comment
B: note 1: d' changed to g' in ink(CN)
B: note 2: a changed to b in ink(CN)
B: notes 2-3: d changed to g in ink
(CN)

SATB
Text: Viggo Stuckenberg
Dating: May 1929
SourcesA

294 “Danmark, du kornblonde Datter”
SATB

Print (PR 53)

B

Draft (MS 32 4008)

C

Text, manuscript, letter from Knud Malmström
to Nielsen, 7.5.1929, (DK-Kk, CNA, I.A.b.)

Text: L.C. Nielsen
Dating: [1909]

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 491

491

22/02/09 8:32:33

Bar
11
13
15
16

Part
B

T R E

Comment
B: note 1: c'(lidt bredere) emended to lidt bredere
note 2: rall. added as in B
at bar line:  added as in B

M O T E T T E R ,

O P.

5 5

SourcesA

Print (PR 54I)

B

Fair copy, autograph (MS 33 2251)

C

Draft (MS 33 2252)

D

Sketch (MS 33 2253)

Bar
4

Part
A

11

T1

12-13

T2

17
17

T1

17
17
18-19

T1
B
T2

25-26
25
27
27

A T1 T2 B
T1
A T1 T2
T2

31
31
32

A
T1
A

32

B

33-36

T2

34-35
34

A
T1

35-36

T1

36
37-38

A
T2

37-38

B

39
40
40

T
T2
B

Source C, from which B has been drafted, is theearliest source comprising the whole composition.
According to the literature and correspondence two
additional sources dating from the period before thepremiere seem to have been in existence; their location today is unknown. The sources in question are
Wöldike’s manuscript copy and a set of vocal parts
for the choir (see Preface, pp.119-120). The Print was
published by Skandinavisk og Borups Musikforlag
in 1931; this latter score (A) has been elected as copy
text for the present edition.
In B especially the dynamic markings are considerably more detailed than in C. Source A displays obvious differences in two areas in relation to the fair copy
(B): ﬁrstly, many caesurae have been added to the score
including some which do not follow the punctuationor the text – many of them are placed in the middle
of a syllable (this amount of caesurae is not found inany other of Nielsen’s choral works); secondly, the text
is different from what appears in the printing manuscript, especially in the third motet. Since Wöldike’s
manuscript copy of the score has not been available, it
has not been possible to determine precisely to what
extent Carl Nielsen was involved in the work producing A. Nevertheless, Nielsen must have sanctioned thechanges, as they are included in the printed edition.
In the present edition, the copy text is the version
which must be regarded as reﬂecting ﬁnal authorial
intention, that is, the printed edition. Source B has
been reproduced as facsimile, see pp. 163-172.
297 “Afﬂictus sum”
ATTB
Text: Psalms 38:8 (King James Version)
Dating: 1929

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 492

Comment
B: different distribution of syllables, see facsimile; C: identicalwith B
B: different distribution of syllables, see facsimile; C: identicalwith Bb.12 note 5 to b.13 note 1: slur
omitted as in B, C
C: poco piu erased
note 1:
added as in C and byanalogy with A, T1
B: note 1: ; note 2:
C: b.18 note 4 to b.19 note 1: tie
added as in B, C
di-mi-nu-en-do added as in B (A, B)
C: b.25 notes 3-4: -i cornote 1: added as in B
notes 4-5:
emended to   as in
B, C (rhythmic error)
C: note 2: dim.
C: note 1: dim.
note 2:
added as in B, C and byanalogy with B
after note 1: caesura added byanalogy with T1 (b.27) and T2(b.39)
B: different text and rhythmic
variants, see facsimile; C: identicalwith B
B, C: b.34 to b.35 note 1: cor-dis me-i
B: different text and rhythmic
variants, see facsimile; C: identicalwith B
B, C: b.35 note 2 to b.36 note 1: age-ni-tu cor-dis me-; b.36 note 3: -i
B: et on note 7 instead of note 6
di – mi – nu – do added by analogy
with A(b.38 note 1)
dim. and
emended to di – mi – nu – en – doadded by analogy with A, B
C: notes 2-3:  
B: notes 1-2: A changed to e; notes
3-6: e changed to b ; C: notes 1-2: A;
notes 3-6: e

ﬀ


ﬀ



ﬀ



492

22/02/09 8:32:34

42-43A

B: distribution of syllables andrhythm changed in pencil (Mogens
Wöldike), see facsimile;C:& Œ œ œ œ œ œJ œJ œ œ
ru

42-43

T2

45

T1

46-47

A

46
46
46

A
T1
B

47-48
47
48
49
50-51

A
B
T1
A
A

50
51
52

B
T2
A

53
53
58
60
60
62
62-63
63-65
64
65
65
65
65
66
67
68-71

T1
B
B
A
T1
A
B
A
A
A
A T2 B
T2
T2
B
B
A

75-76
76-78

T1 T2

78

T2

80

A

-

gi - e - bam a

œge - mi - tu

B: different distribution of syllables and rhythmic variants, seefacsimile; C: identical with B
after note 4: caesura added inaccordance with other voices b.46
B: b.46 note 2 to b.47 note 3:
dim.– – –B: -cor note 3 instead of note 2
B: note 1: dim.
after note 5: caesura added inaccordance with T2
C: b.47 note 1 to b.48 note 6: slur
C: -dis note 2 instead of note 3
B, C: -tus note 7 instead of note 6
B: -tus note 7 instead of note 6
B: different distribution of syllables and rhythmic variants, seefacsimile; C: identical with B
B, C: -tus note 7 instead of note 6
B, C: -tus note 7 instead of note 6
B: notes 2-6:
; note 7: -tus
instead of note 6
B, C: note 7: -tus instead of note 6
B: notes 2-3: dim.
C: note 3: e
B, C: me-i instead of cor-dis
B: note 2:
B, C: -bam note 5 instead of note 4
B: b.62 to b.63 note 1:
C: b.63 note 1: cor-; b.65 note 3: -dis
C: 
B: -cor note 3 instead of note 2
B: notes 1-2: dim.
notes 1-2: me – e emended to me – – –C: notes 1-2: dim.
B:
B, C: lower part in brackets
B: distribution of syllables
changed in pencil (Mogens
Wöldike?), see facsimile; C: hub.68 note 4 insted af note 5
C: poco a poco crescendo
added by analogy with
A, B
note 1: e'' emended to e '' as in B, C
and by analogy with b.77 note 2
note 1:omitted as in B; B: note
2:



ﬀ

ﬀ

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 493

80
80

T1
B

81
82
82
82
82
83
88

T1
A
T1
T2
B
AB
A

89

A

ﬀ
ﬀ

note 2:
added as in B, C
note 1:omitted by analogy
with A, T
B, C: note 2: d''
B: notes 1-2:
B: notes 1-4:
; note 5:
B: notes 1-2:
; note 3:
B: notes 1-5:
B: note 1:
B, C: -cor note 3 instead of note 2; dis b.89 note 3 instead of b.88 note 4
B, C: me- note 5 instead of note 1

ﬀ






ﬀ
ﬀ

298 “Dominus regit me”
SATB
Text: Psalms 23:1-2 (King James Version)
Dating: 1929
SourcesA

Print (PR 54I)

B

Fair copy, autograph (MS 33 2251)

C

Draft (MS 33 2252)

Bar

Part

1
2
3
8

S
S
A
T
T

9-10

S

11
14
14
15
16
16-17
17
18
24
26

S
T
B
B
S
B
A
T
B
A

27
28
29

T
B
S

Comment
B, C: text in general: gegit insteadof regit; C: text in general: reﬂectionis instead of refectionis
A, B, C: Cantus
B: ge- changed to re- in pencil (CN?)
added as in B
added as in B
C:  (a)  ( f ) changed to only one (a) in ink
B, C: -bi b.9 note 5 instead of b.9
note 4; me b.10 note 1 instead ofb.9 note 5; col- b.10 note 2 insteadof b.10 note 1, see facsimile
C: -mi note 3 instead of note 5
notes 1-2: pa-as emended to pas B: notes 2-4:
B: note 4: B:
B: b.16 to b.17 note 1:
B: notes 3-6:
ca – a emended to ca – – –B: note 2:
B, C: -per note 2 instead of note 1;
a- note 3 instead of note 2
refectionus emended to refectionis
C: note 1: G changed to g in pencil
B:  (b ' ) changed to  (b ' )  (e'' ) in
pencil (CN?)






493

22/02/09 8:32:34

30-31

S

30-31

T

32
33

B
S

33

A

33
33
35-37

T
B
T

36

B

38
40

S

41-42

S

41

T

43

A

B: a- b.31 note 1 instead of b.30
note 4
B: -quam b.30 note 8 and a- b.31
note 2 missing
B: note 3: (d) (b ) instead of  (d)caesura emended from afternote 7 to after note 6 in accordance with A, T, B; B: notes 8-10:

22-26

S2

30

S2

32-34

B

note 7: superﬂuous dim. omitted;
B: note 6: dim.
note 10: superﬂuous dim. omitted
B: notes 9-10:
B, C: b.35 note 5: du-; b.35 note 6:ca-; b.36 note 2: -vit; b.36 note 3: e-;b.36 note 4: du-; b.36 note 5: -ca
after note 9: superﬂuous caesura
omittedtranquillo added as in B
added as in B and by analogy
with b.39 (A.)
b.41 note 7 and b.42 note 2: e-e
emended to e – – –B: notes 2-3:   changed to  inpencil (CN?)
B: notes 1-2:   changed to  inpencil (CN?); C: notes 1-2:   ; notes
6-7:   changed to  in ink

34

S1

35-38

A

38
41-46

T
B

48-52

B

49-53

A

52-66

B

56-57

A

59
61-68

S1 S2
T

62

A

64
69-72

B
S2

72-74

S1

75-77

S1

86
86-87

S2
A



299 “Benedictus, benedictus Dominus”
SSATB
Text: Psalms 31:21 (King James Version)
Dating: 1929
SourcesA

Print (PR 54I)

B

Fair copy, autograph (MS 33 2251)

C

Draft (MS 33 2252)

D

Sketch (MS 33 2253)

E

Sketch (MS 33 2254)

Bar

Part
S1 S2

1
5

A

14

T

15-20

B

Comment
A, B: Cantus I Cantus II
Allegro non troppo added as in B
after note 3: caesura added byanalogy with T (b.2)
C: note 1: in margin:  (e' ); note 1
added in ink (CN)B, C: b.15 note 4: Do-; b.17 notes
2-4: mi-nus, Do-; b.19 notes 4-5:
-mi-nus; b.20 note 1: Be-

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 494

89
S1
92-95 S1
92-104 A

B, C: b.22 notes 4-5: -mi-nus; b.23
note 3: be-; b.24 note 5: -ne; b.25
note 1: -dic; b.25 note 3: -tus; b.25
note 5: Do-; b.25 note 7: -minote 2:
added by analogy with
T, B
B, C: b.32 notes 2-5: be-ne-dic-tus;
b.33: note 1: Do-; b.33 note 4: mi-;b.34 note 1: -nus
note 1: b ' emended to b ' by analogy with B, C
B, C: b.35 note 3: Do-; b.37 note 3:
mi-; b.38 note 1: -nus
note 2: f  emended to f as in B, C
B: different text and different
notes, see facsimile; C: identicalwith B
B: different distribution of syllables, see facsimile; C: identicalwith B
B: different distribution of syllables, see facsimile; C: identicalwith B
B, C: b.52 note 2: mi-; b.53 note 4: ri-;b.54 note 2 to b.55 note 2: -ﬁ-ca-vit,
be-; b.56 notes 2-3: ne-dic-; b.57 note 2
to b.61 note 1: -tus, Do-mi-nus quo-niam mi-ri-ﬁ-ca; b.61 note 3 to b.62 note
1: -vit, quo; b.63 note 2 to b.65 note 1:
ni-am mi-ri-ﬁ-ca-; b.66 note 1: -vit
B, C: b.56 note 4: -vit; b.57 notes
1-3: mi-se riB: notes 1-3:
B, C: b.61 note 3: quo-; b.63 note 2:-ni; b.64 note 1: -am; b.65 note 1:
mi-; b.66 notes 1-2: ri-ﬁ-; b.67 note
1: -ca; b.68 note 1: -vit
notes 1, 3: co-or emended tocor – – –; C: note 3: c 'B, C:  ( f )  ( f ) instead of  ( f )B, C: b.69 note 2: mi-; b.70 note 2:ri-; b.70 note 5: -ﬁ; b.71 note 1: -ca;b.72 note 3: -vit
B, C: b.72 note 2: mi-; b.73 note 4 tob.74 note 1: ri- ﬁ-ca; b.74 note 3: -vit
B, C: b.75 note 1: quo-; b.77 notes
2-3: -ni-am
C: Do- note 2 instead of note 3
B: b.86:   (e' , Be-); b.87 note 1:
no text, see facsimile; C: identicalwith B
B, C: notes 2-4: be-ne-dicC: stacc.
B, C: b.92 note 2: mi-; b.93 notes
1-2: -ri-ﬁ; b.93 notes 4-5: -ca-vit; b.94

494

22/02/09 8:32:35

93-95B

98-123 T

100-104 S1

100-101 T
100

Bnotes 2-4: mi-se-ri; b.95 note 1: -cor;b.96 notes 2: -di; b.96 note 4: -am;b.97 note 1: mi-; b.98 notes 1-2:
-se-ri; b.99 note 1: -cor; b.99 note 6:-di; b.100 notes 1-2: -am, mi; b.101
notes 2-3: -se-ri; b.102 note 1: -cor;b.102 note 3: -di; b.103 notes 1-4:
-am su-am mi-; b.104 note 1: -hi
B, C: b.93 note 2: mi-; b.94 notes
2-4: -ri-ﬁ-ca; b.95 note 1: -vit
B: b.98 note 2 to b.100 note 4: Domi-nus: quo-ni-am mi-ri-ﬁ-; b.101 note
2: -ca; b.101 notes 4-5: -vit mi-; b.102
notes 2-4: -se-ri-cor; b.103 note 4 tob.106 note 1: -di-am su-am mi-hi, quoni-am; b.107 note 3: mi-; b.107 note 5
to b.108 note 3: -ri-ﬁ-ca-vit mi-; b.109
notes 2-5: -se-ri-cor-di-; b.110 note 1:-am; b.111 note 1: su-; b.111 note 3
to b.112 note 1: -am mi-; b.112 note
3: -hi; b.113 note 2 to b.114 note 1:
be-ne-dic-; b.114 note 4 to b.115 note
1: -tus Do-; b.116 note 2 to b.117 note
1: -mi-nus, be-; b.117 note 3 to b.119
note 1: -ne-dic-tus Do-mi-nus; b.120
notes 2-3: mi-se-; b.121 notes 2-4: ricor-di-; b.122 notes 2-3: -di-am; b.123
notes 1-4: su-am mi-hi, see facsimile;
C: b.98 note 2 to b.100 note 4: Domi-nus: quo-ni-am mi-ri-ﬁ-; b.101 note
1: -ca; b.101 notes 4-5: -vit mi-; b.102
notes 2-4: -se-ri-cor; b.103 note 4 tob.106 note 1: -di-am su-am mi-hi, quoni-am; b.107 note 3: mi-; b.107 note 5
to b.108 note 3: -ri-ﬁ-ca-vit mi-; b.109
notes 2-5: -se-ri-cor-di-; b.110 note 1:-am; b.111 note 1: su-; b.111 note 3
to b.112 note 1: -am mi-; b.112 note
3: -hi; b.113 note 2 to b.114 note 1:
Be-ne-dic-; b.114 note 4 to b.115 note
1: -tus Do-; b.116 note 2 to b.117 note
1: -mi-nus, be-; b.117 note 3 to b.119
note 1: -ne-dic-tus Do-mi-nus; b.120
notes 2-3: mi-se-; b.121 notes 2-3:
ri-cor-; b.122 notes 2-3: -di-am; b.123
notes 1-4: su-am mi-hi
B, C: b.100 note 2: quo-; b.100 note
3: ni-; b.101 notes 1-4: -am mi-ri-ﬁ-;
b.102 notes 3-4: -ca-vit; b.103 notes
1-3: mi-ri-ﬁ-; notes 4-5:  (d'' ca-)instead of  (Do-) (mi-); b.104: -vit
instead of -nus
C: b.100 note 4 to b.101 note 1: tie
crossed out in ink
B: 29 added in pencil (CN?)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 495

104-114 S2

107

S1

107

S2

111

S2

112

A

113-123 S1

114-123 B

115-123 A

118

T

125

T

126

S2

S E PA R A T E

B, C: b.104 notes 1-2: quo-ni-; b.105
notes 1-2: -am mi-; b.106 notes 3-4:
ri-ﬁ-; b.107 note 1: ca-; b.108 notes
1-2: -vit mi-; b.109 notes 3-4: se-ri-;b.110 notes 1-3: cor-di-am; b.112
note 1: su-; b.113 notes 5-6: -am mi-;b.114 note 2: -hi
B: note 3:
instead of  (changeof text)
B, C: notes 4-5:  instead of (change of text)
added by analogy with theother parts
B, C: notes 5-6:  (g ' )  (e' ) (b )instead of (g ' ) (b ' )B, C: b.113 note 1: mi-; b.113 notes
3-4: -ri-ﬁ; b.114 note 1: -ca; b.114
note 3 to b.115 note 1: -vit mi; b.115
note 3: -se; b.116 notes 2-3: -ri-cor;b.117 notes 2-3: -di-am; b.118 notes
1-2: su-am; b.118 notes 4-5: mi-hi;
b.119 notes 2-3: mi-se-; b.120 note 2:-ri; b.120 note 4: -cor; b.121 note 2:-di; b.122 note 2: -am
B, C: b.114 note 2 to b.115 note 1:
mi-se-ri-cor-; b.116 note 2 to b.117
note 3: -di-am mi-se-ri-cor-di-am;
b.119 note 2: su-; b.119 note 4: -am;b.120 note 3: mi-; b.121 note 3 tob.122 note 1: -hi, be-ne-dic-; b.122
note 5: -tus; b.123 note 1: DoB, C: b.115 notes 1-3: mi-ri-ﬁ-; b.116
notes 3-4: -ca-vit; b.117 note 2 tob.118 note 3: mi-se-ri-cor-di-am; b.120
note 3 to b.121 note 1: su-am mi-;b.123: -hi
B, C: notes 4-5:  (d'' ) instead of(d'' ) (d'' ) (change of text)
B, C: notes 1-2:  (d'' ) instead of (d'' )  (d'' )B, C:  (d'' ) instead of  (d'' )  (d'' )S O N G S

300 Fædrelandssang (“Du danske Mand! af al din Magt”)
SATB
Text: Holger Drachmann
Dating: 1916?
Other versions: 167 (pf.), 224 (voice, pf.), 320(TTBB), 339 (SA), 391 (SSA)

495

22/02/09 8:32:35

Sources

B

Fair copy, autograph (MS 33 2258)

A

Print, ﬁrst edition (PR 55I)

C

Draft (MS 33 2259)

B

Printing manuscript, autograph (MS 32 3065)

D

Vocal parts, manuscript copy (MS Ext. 243)

C

Fair copy, autograph, (MS 33 2078)

E

Vocal parts, manuscript copy (MS Ext. 241)a,b,c,dF

Vocal parts, manuscript copy (MS Ext. 242)

E

2

Reprint of PR 55 (55 )G

Vocal parts, manuscript copy (MS Ext. 244)

F

Reprint of PR 552 (553)

H

Corrections from Chr. J. (MS 33 2260)

D

Printed parts (PR 55
1

2

)

4

G

Reprint of PR 55 (55 )H

Reprint of PR 552 (555)

Source C from which B was drafted is the earliest

I

Reprint of PR 551 (556)source. The vocal parts (D) used at the premiere
were drafted from B. Source A is an autograph fair

The dating of the version for choir is uncertain as

copy, which most likely was also drafted from B, andaccording to the engraver’s book it was engraved

made in order to send it to C. Rocholl in Germany forat the same time as 320 but apparently not printed

translation. The latest of Nielsen’s fair copies (A) has

until 1916 as part of Wilhelm Hansens Korbibliotek. The

been elected as copy text. Sources A and B are two

printed edition of Wilhelm Hansens Korbibliotek hasvery different fair copies, in particular as regards the

been elected as copy text and collated with the au-

articulation. For this reason, they must be viewed

tograph printing manuscript (B) as well as with theseparately, and a complementation by analogy has

incomplete fair copy (C).

therefore only been made based on the source itself.
Variants in B, C and D are listed below.

Bar
+1

Part

4
5-6
5
6
9
12
13
13
13
14

T
A
T
T
B
T

14

T

A
T
A

15-18
17
18

CommentA:changed to in ink (CN);C:
C: note 2: e
C: b.5 note 4 to b.6 note 1: e' - c '
C: note 4: g 
C: note 1: a
C: note 4: c  changed to e in ink (CN)
C: note 1: f 
B: note 1:
C: notes 1-4: a' - a' - a' - a'
C: notes 1-4: e' - a - e' - e'
C: note 1: a' changed to d'' in ink(CN); note 2: c ''
C: notes 1-2:  (d' ); note 3: a; note 4
missing
C: missing
B: note 1:
B: at bar line: 










301 Sidskensang (“Du er, min Tro, en underlig Pog”)
SSAT

Bar

Part
T

1
2
2

AT
T

3
3-4

AT
T

3
4-7

T
S1

4-7

A

4

AT

4
4
5

T
T
S2

5

AT

6

S1

Text: Emil Aarestrup
Dating: 1906
SourcesA

Fair copy, autograph (MS 33 2257)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 496

Comment
C: notated in tenor clef
B: Allegretto moderato; C: Allegrettopoco
B: notes 1, 5: stacc.
note 4: stacc. omitted by analogy
with A
B: 3: stacc.
b.3 note 1 to b.4 note 1:
added by analogy with A
C: note 4:
C: klog og ﬁn saa ﬁn og klog insteadof ﬁin og klog, saa klog og ﬁin
C: saa klog saa ﬁn, saa ﬁn saa klog
instead of saa ﬁin og klog, saa klog
og ﬁinnote 2: stacc. added by analogy
with S1 (b.3 note 2); note 3: ten.
added by analogy with S1 (note 2)
note 2:
added by analogy with A
C: klog instead of ﬁin
B: notes 1-4: stacc.; C: notes 1-3:
stacc.; saa klog og ﬁn instead of saa
ﬁin og klog
note 2: stacc. added by analogy
with S1 (b.4 note 3); note 3: ten.
added by analogy with S1 (note 1)
note 2: ten. added by analogy with
b.4





496

22/02/09 8:32:36

6

AT

7

S1

7

S2

7
7

AT
T

8

T

9
9
10
10

S1
S2
S1
AT

11
14
14
15
15
15

S1
S1 S2
S1
S1 S2
S1
T

17
18
18
19
19
20
20

S1 S2 A
S1S2
S1 T
S1 S2 A T
AT
T

22
22-23

S2

22
22-25

AT
T

23

S1 A

23

T

25-27
25
25-26
25

S1 S2
S1 S2 A
AT
T

26
26
27
28

S2 A TS1 S2 A T

note 2: stacc. added by analogy
with S1 (b.5 note 2); note 3: ten.
added by analogy with S1 (note 2)
note 1: ten. added by analogy withb.5
C: notes 1-4: stacc.; saa ﬁn og klog
instead of saa klog og ﬁin
B: note 2: saa instead of og
note 4: stacc. added by analogy
with Anote 1: ten. added by analogy with
S1
B: note 3: ten.
C: note 1: stacc.
C: note 2: ten.
note 1: ten. added by analogy with
S1j
B: œ œ
B: note 1: ten.; notes 2-5: stacc.
C: note 1: ten.; notes 2-5: stacc.
B: note 1: ten.; notes 2-4: stacc.
C: note 1: ten.; notes 2-4: stacc.
A: notes 4-5: f-e corrected to e-d in
ink; B, D: f-e
B: note 2: ten.
B: notes 1-6: stacc.
B: notes 1-2: stacc.
B: notes 1-3:
C: note 3:
B: b.19 note 3:
C: note 2: c '' changed to f '' inpencilB, C: ( =  )b.22 note 6 to b.23 note 3: stacc.
added by analogy with b.22 notes
1-5
superﬂuous omitted
b.22 note 6 to b.25 note 5: text
added as in B
notes 1-3: stacc. added by analogy
with b.22
note 1: stacc. added by analogy
with b.22; B: e'' changed to d'' in ink
B: cre – scen – do
C: note 1: cresc.
D: cresc e accell:
notes 1-2: stacc. added by analogy
with S1, S2, A (b.24 note 4 to b.25
note 1)
C: poco accell:note 3: cresc. added by analogy
with S1
B: note 5:
B, C: Tempo Imo ma un pochettinomeno ( =  )











Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 497

28
28

S1 S2 A
A

29

S1

29
29

S1 S2
S2

29
29
29-30
29
30
31
31-32
31

S2
A
A
T
T
S1
S1
S2

31

A

31
31

A
T

33
33

S1
S2 A T

34
34-35

S1
S1

35
35

S1
S2 A

35
36
36

T
S2 A
A

37
37
37

S1
S2 A
A

39

S2 A

40
41
42
42
43
43

S1 S2 A T
S1S1
S2 A TS2
A

43

T

D: Tempo I poco meno
B, D: note 1: marc.; notes 2-7:
marc.
notes 1-6: stacc. added by analogy
with b.19 note 4 to b.21 note 1; C:changed toin pencil
B:
erasednotes 1-3: stacc. added by analogy
with b.19 note 4 to b.21 note 1
note 3: added
C: note 3: e'
B: b.29 note 3 to b.30 note 1: marc.
B: marc.; C:
B: notes 1-6: marc.
B: ; C: a'
B: b.31 note 1 to b.32 note 9: marc.
notes 1-6: stacc. added by analogy
with b.19 note 4 to b.21 note 1; C:note 2: b 'notes 1-3: stacc. added by analogy
with b.20 note 1 to b.22 note 2; D:note 4: stacc.
note 3: added
note 3: stacc. added by analogy
with A
B, C : (Sop.I non dim)notes 1-4: stacc. added by analogy
with b.19 note 4 to b.21 note 1 (S1,
S2); B: note 4:
C: note 4: dim.
B, C: b.34 note 4: dim.; b.35 note 3:

















B, C: note 2: ten.
notes 1-6: stacc. added by analogy
with b.19 note 4 to b.21 note 1 (S1,
S2); B: note 1: ; note 3: dim.; C:note 6:
B: espress:
B: note 1: ten.
notes 2-4: stacc. added by analogy
with S2
B: espress:
B: note 1: ten.
notes 2-4: stacc. added by analogy
with S2
notes 1-4: stacc. added by analogy
with bb.35-38; B: note 1: ten.
C: notes 4-5: œ œj
C: notes 2-3: œ œj
C: notes 3-4: one  (e'' )C: notes 1-2: œ œj
C: notes 1-2: œ œj
B, C: notes 1-2:  instead of (g ' ): text: only fy!
C: notes 1-2: œ œj





3

3

3

3

3

497

22/02/09 8:32:37

44
44

S1 S2

44-45

AT

45

S1

45-46

A

B: Tempo I
C: note 1: changed toinpencilb.44 note 1 to b.45 note 3: stacc.
added by analogy with S1, S2 (b.44)
note 2: stacc. added by analogy
with b.3; D: note 2:
b.46 note 1: end of
emended from b.45 note 4 byanalogy with S1 (b.45); b.46 note2:
moved from b.46 note 1 byanalogy with S1 (b.45)
B, C: b.45 note 4:
added by analogy
with A.
note 2: ten. added by analogy withb.4; note 3: stacc. added by analogy
with b.4
note 2: stacc. added by analogy
with S1 (b.45 note 2); note 3: ten.
added by analogy with S.1 (note 2)
note 1: ten. added by analogy withb.5; note 2: stacc. added by analogy
with b.5
text added as in B
note 2: stacc. added by analogy
with S1 (b.46 note 3); note 3: ten.
added by analogy with S1 (note 1)
note 2: ten. added by analogy withb.6; note 3: stacc. added by analogy
with b.6
note 2: stacc. added by analogy
with S1 (b.47 note 2); note 3: ten.
added by analogy with S1 (note 2)
B: in: poco; C: note 2:changed toin pencil
B: b.49 note 2 to b.52 note 5: stacc.
B: in: pocotext added as in B
A: note 3: f; B: note 3: d
B: b.50 note 1 to b.52 note 5: stacc.
B: b.50 note 1 to b.52 note 6: stacc.
B: note 1: poco
B, C: note 5: poco rall:note 2: dim. added by analogy with
S1, S2, T
C: note 1:
notes 1-3: marc. added by analogy
with b.53 note 3; B: note 4: stacc.
D: note 4: marc.
B: note 1: dim.
B: note 1:
B: notes 1-3: stacc.
C: bars missing
B: b.59 note 1 to b.60 note 3: stacc.









45
45-46

AT
T

46

S1

46

AT

47

S1

47
47

S2
AT

48

S1

48

AT

49

S1

49-52
49
49
49
50-52
50-52
51
52
52

S1
S1 S2
S2
T
S2
AT

53
54

S1
S1 S2 A T

54
56
57
58
58-59
59-60

S2
S1 A T

A

S2
S1














Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 498

59
60
60
60
61
61

S1
S1
A
T

61
62
62

T
S1 S2 A T
S2

62
62

A
T

63-64
63-64

A
T

A



C: note 1:
C: note 3: cresc.
B: note 1: stacc.
B: note 1: stacc.
B:
B: note 2: b ' changed to b inpencil; C: b 'D: note 1: stacc.
C:
B: note 2: a' changed to c '' inpencil; C: note 2: e''
C: notes 1-2: e-c
C: note 2: a'' ; D: note 2: c '' changed
to e'' in pencil
A: a' changed to c '' in ink (CN?)
A: c '' changed to a'' in ink (CN); B:
cis; D: c '' changed to a'' in pencil

ﬀ

302 Serenade (“Gerne vi lytter, naar Strængene bringer”)
SATB
Text: Hother Ploug
Dating: 1907
SourcesA

Vocal parts, fair copy, partly autograph (MS 32
3086)

B

Tenor part, manuscript copy (MS 33 2256)

The main source is a partly autograph fair copyof the vocal parts drafted by Nielsen and Henrik
Knudsen, respectively. Furthermore, a tenor part, faircopied by Henrik Knudsen at an earlier stage thanthe copy text, has survived.
Bar
2
6

Part
A
SAB

8
9
10

ATB
A
SA

10

T

10
13

B
SA

14

T

Comment
A: note 1: f ' changed to g' in pencil
notes 4-6: marc. added by analogy
with T
dim. added by analogy with S
stacc. added by analogy with S
stanza 1: følge emended to følger byanalogy with T, B (b.10)
A: note 4: b ' changed to a' in ink(CN?); B: note 4: b 'A: notes 1-6: slur added in pencil
A: stanza 1: danne changed to skabein pencil
A: stanza 1: danne changed to skabein pencil; B: danne instead of skabe

498

22/02/09 8:32:38

14

B

17

B

18

S

18

T

A: stanza 1: danne changed to skabein ink (CN)stanza 3: ja emended to i by analogy with T; A: notes 1-3: rit. addedin pencil
poco rall. emended to rall. by analogy with A, T, B
B: notes 4-5: poco rall:

T

V

B

œ
B œ . n œj œ œJ J

Dating: 1907

Draft (MS 33 2141)

C

Manuscript copy (MS Ext. 251)

A

2
2
4

AT
B
B

6
9

T
T

9

B

33

ATB

œ œ œ
J J

Dating: 1908?
Other versions: 28 (voice, pf.)

Comment
B: notated in alto clef
B: notated in tenor clef
B: notes 3-4:
; C:changed toin pencil; ( = 58)
A: note 6: in four of the parts foralto b  is changed to c' in pencil
B: notes 1-4:
B: notes 2-3:
; note 3:
beginning ofemendedfrom note 2 by analogy with A, T
note 4: d' emended to c' as in B
notes 1-2:
added by analogy with A; B: in tenor clef: f-g-d
note 1:
added by analogy
with A
stanza 4: brast, men emended tobrast because of a nonsensicaladdition in A; it has not beenpossible to determine whether
Nielsen or the copyist added the
men
A:







A

V

œ.

Sources
A

lost.

2

? œ œ

SATB

that a fair copy once existed which apparently is

1

œ œ œ
J J

Text: L.C. Nielsen

ences between the vocal parts and the draft suggest

Part
A
T
ATB

œ œ

304 “Ja, tag os, vor Moder”

Source A has been elected as copy text, as the differ-Bar

brast; men

B:

Text: Emil AarestrupBœ? œ œ œ œ œ

BVocal parts, manuscript copy (MS Ext. 252)

œ

Lyk - ke brast, men

ATB

A

œ

Lyk - ke

303 “Kom, Gudsengel, stille Død”

Sourcesœ

Draft (MS 33 4024)

Bar

Part

2
8

TB
SATB

Comment
text added from 28; A: text incomplete
e-c added by analogy with S, A
cresc. emended toinaccordance with bb.12, 16

305 “Vi børn, vi Børn, vi vaagner”
SATB
Text: Johannes Jørgensen
Dating: 1911
Other versions: 230 (pf.), 325 (TTBB), 388 (SA)
SourcesA
Bar

Draft (MS 33 2025)
Part

Comment
A: Vi Børn! / Bl: Kor
text added from the printed edition for TTBB, 325

j
œ œ
œ œ

Lyk - ke brast; men

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 499

499

22/02/09 8:32:38

306 Sangen til Danmark (“Som en rejselysten Flaade”)
SATB
Text: Helge Rode

18
18

A
T

C: f ' changed to a' in pencil (CN)C: a changed to c ' in pencil (CN)307 “Der er et yndigt Land”

Dating: 1921

SATTB

Other versions: 124 (voice, pf.), 177 (pf.), 342 (SSA)

Text: Adam Oehlenschläger
Dating: 1924

SourcesA

Print, ﬁrst edition (PR 561)

B

Printing manuscript, autograph (MS 32 3062)

C

Draft (MS 33 3061)

D

Reprint of PR 561 (PR 562)

E

Reprint of PR 561 (PR 563)

F

Print (PR 564)

G

Print (PR 565)

Other versions: 262 (pf.), 291 (voice, orch.), 308(SATB), 329 (TTBB), 334 (SSA), 394 (SSAA)
SourcesA

Print, ﬁrst edition (PR 57)

B

Printing manuscript, autograph (MS 33 2044)

C

Draft (MS 33 2145)

Bar

Part

6
9

T2
A

12

B

Source A, which has been elected as copy text, hasbeen collated with B, C. Source A is reprinted inSange for Danske Folkekor Fynske Afdeling ved Sangstævnet
i Faaborg 1924 (PR 563) and as a lithographic reproduction of a manuscript copy in Dansk Korforening. Nordre

Comment
B: only ﬁrst stanza; 3 Vers ‘3 stanzas’ indicated
C: g '' changed to f ' in ink (CN)
C: note 2: a' changed to e' in ink(CN)
C: E, e changed to e, g  in ink (CN)jyske Kreds. Sangstævnet i Hobro 1926 (PR 564). In Danske
Folkekor. Landssangstævne i København 1923 (PR 562) the308 “Der er et yndigt Land”

song has been drafted using the same plate, includ-

SATB

ing, however, a few performance related adjustments

Text: Adam Oehlenschläger

made by a conductor. Furthermore, it also appears in

Dating: 1924

a simpliﬁed version in 13 ﬂerstemmige Sange for Sopran,

Other versions: 262 (pf.), 291 (voice, orch.), 307

Alt, Tenor og Bas. 1928-29 (PR 565).

(SATTB), 329 (TTBB), 334 (SSA), 394 (SSAA)

In the same year as when the ﬁrst edition appeared, Hakon Andersen arranged and printed a

Sourcesversion for the same arrangement (SATB). With theA

Print, ﬁrst edition (PR 581)

exception of one single chord, this edition is identi-

B

Reprint of PR 581 (PR 582)

cal to the version in Hakon Andersen’s and Finn
Høffding’s Gymnasiesangbogen. Sangbog for blandet Kor

Presumably the draft to 262 (pf., MS 33 2048) was

med og uden Instrumentalledsagelse til Brug for Gymnasier,also an early draft to 308. With the exception of

Seminarier, Højskoler og Korforeninger of 1929.

bar 10 the present song is the same, but notated for
piano in E major.

Bar
2

Part
B

6

B

14

SAT

14

B

Comment
B: notes 1-2:  (A) instead of  (A) (c )
B: notes 1-2:  (A) instead of  (A) (c )2
C: 4 added in pencil;  changed
to  (CN)C:  ( f  )  (c )  ( f  ) (e) (d)changed to  ( f  ) in pencil (CN)Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 500

309 Hjemvee (“Underlige Aftenlufte!”)SATB
Text: Adam Oehlenschläger
Dating: 1924
Other versions: 90 (voice, pf.), 163 (pf.), 345
(SSA)

500

22/02/09 8:32:39

Sources

311 Sjølunds Sangere (“Paa Sjølunds fagre, sommer-

A

Print (PR 591)

B

Printing manuscript, autograph (MS 33 2103)

SATTB

C

Draft (MS 33 2105)

Text: Karl Elnegaard

D

Reprint of PR 591 (PR 582)

Dating: 1924

E

Reprint of PR 591 (PR 592)

F

Print (PR 593)

skønne Ø”)

Sources
1

G

4

Reprint of PR 59 (PR 59 )A

Print, ﬁrst edition (PR 61)

H

Reprint of PR 591 (PR 595)

B

Fair copy, autograph (MS 33 2261)

C

Draft (MS 33 2262)

The printed edition (A) has been elected as copy text
and collated with B, C.

Bar

Part

Bar
1-8

Part

+1

B

8

B

3
7
10
12

A
T2
T2
B

12
13

B2
A

Comment
C: notated in E  major; b.1: key
signature crossed out
C: b 

310 “Jeg bærer med Smil min Byrde”
SATB
Text: Jeppe Aakjær

Comment
C: ﬁrst in E  major but laterchanged to E major
added by analogy with S, A, T1,
T2
C: note 6: d'
C: note 6: c ' emended to (rhythmic error)
note 2:  emended to (rhythmic
error)
B: note 1: A
C: b



Dating: 1924
Other versions: 97 (voice, pf.), 166 (pf.)

312 “Udrundne er de gamle Dage”
SATB

SoucesText: N.F.S. Grundtvig

A

Print, ﬁrst edition (PR 601)

Dating: 1925

B

Printing manuscript, autograph (MS 33 2119)

Other versions: 116 (pf.), 140 (pf.), 147 (pf.), 359

C

Draft (MS 33 2105)(unison song)

D

Reprint of PR 601 (PR 602)

E

Print (PR 603)

SourcesF

Reprint of PR 601 (PR 604)

A

Print, ﬁrst edition (PR 621)

G

Print (PR 605)

B

Fair copy, autograph (MS 33 2231)

H

Print (PR 606)

C

Draft (MS 33 2232)

D

Reprint of PR 621 (PR 622)

The copy text (A) has been collated with B, C. In addition, a number of prints and reprints, all with the

The printed edition (A) has been elected as copy text

same harmonisation, are known.

and collated with B, C. Source C is nearly identical

Bar

Part

Comment
A: deﬁnition of words printed atbottom of page: 1) Arker: Fjerskyer 2)dynker: stænker

to A; B, however, differs somewhat from these but
may very well have been drafted in connection withthe piano version in Højskolebladet (PR 92) as there are
only a few differences in the harmonisation. Source
B is reproduced as facsimile, p. 173.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 501

501

22/02/09 8:32:39

Bar

Part

+1
+1
2
2
2

SATB
T
A
T
B

3
3
3
3
6
6
6
7
7
8
8

SATB
A
T
B
SATB
A
B
T
B
A
T

8
9
9
9
9
10
10
10
11

B
SATB
A
T
B
A
T
B
A

11
11
12
12
12
13
13
14
14
14
15
15
15
16
16
16

T
B
SATB
T
B
A
T
SATB
A
T
A
T
B
A
T
B

Comment
B: med værdig Fasthed ( = 84)
B:
B: f'
B: note 1:  (e ' )  (d' ) instead of  (e ' )B: note 1:  (c' )  (d' ) instead of  (c' )B: note 2: f; notes 3-4:  (g ) insteadof (B )  (c)B: note 2:
B: note 3: e '
B: note 2: d'
B: notes 2-3: d - c
B, C: note 1: 
B: note 3: a '
B: note 3: f
B: notes 3-4: d' - d'
B: note 4: b 
B: note 2: d'
B: note 1:  (c' )  (d' ) instead of (a); note 2: b 
B: notes 1-3: a  - f - g 
B: note 2:
B: note 3: d'
B: notes 2-3: d' - a
B: notes 2-3: d - d
B: notes 2-4: f' - a' - f'
B: notes 1-4: c' - d' - e ' - d'
B: note 2: B 
B: notes 1-2:  ( f' ) instead of  (c' ) ( f' )
B: notes 1-2:  (c' )  (c' ); note 2: marc.
B: notes 1-2:   ; note 2: marc.
B, C: note 1: 
B: note 3: a 
B: chords 1-2: only f
B: note 4: b '
B: note 1: c' ; notes 3-4: d' - g '
B: note 3: 
B: note 1: a ' ; note 4: d'
B: note 1: e ' ; note 4: b 
B: notes 1-2: f' - c' ; note 4: g '
B: notes 1-2: c' - a; note 4: e '
B: note 2: f
B: notes 1-2: a ' - e '
B: note 1: d'
B: note 2: g 313 “Vaaren – Vaaren er i Brudd!”
SATB

SourcesA

Print of manuscript copy (PR 632)

B

Print of manuscript copy (PR 631)

C

Printed text, Arosia, 6 (1928), p. 85

The printed version in Arosia (A) has been elected ascopy text. Since no source in Nielsen’s hand seems
to have survived and since it is known with certainty
from letters that he is the composer, the latest edition has been chosen as copy text as he might haveparticipated in its publication.
Bar
9
11
13
21

Dating: 1926
Other versions: 402 (unison song)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 502

S
B
B

Comment
stanzas 1-3: text added from C
B: stanza 1 note 3: mark instead of
Bugt
B: notes 1-2: e''
B: note 2: a chord (c, e)
B: only f

314 Sang for femstemmigt blandet Kor ved Dansk Ligbrændingsforenings Jubilæum den 23de Marts 1931 (“AfFlamme blev du avlet”)
SSATB
Text: Sophus Michaëlis
Dating: 1931
SourcesA

Copy of autograph fair copy (Danish Radio’s copy)

B

Draft (MS 33 2309)

C

Vocal parts (MS Ext. 26)

Bar

4
7

Text: Marinus Børup after a Latin text by Morten
Børup

Part

7
7
8

Part

Comment
A: stanza 1 added below the music
and stanza 2 after the music. The
music is repeated and stanzas 3
and 4 are here added below themusic; C: stanzas 1 and 2 areadded below the music, then themusic is repeated and stanzas 3
and 4 are added below the music
S1 S2 A T note 3:
S1 S2 A T B stanzas 3-4: note 1: beginning ofemended from b.6 note
3 by analogy with stanzas 1-2
S1 S2
C: stanzas 3-4: notes 1-4:
A
C: notes 1-5:j
C: ˙ œ



502

22/02/09 8:32:40

12
12

S1

12

B

15

S1



C: last crotchet:C (S1 No.1): stanzas 3-4: note 2:changed toin pencil
notes 1-4:
added by analogy with S, A, T
C (No.1 stanza 1): notes 1-4:





8

T1 T2
B1 B2

after note 2: superﬂuous omitted

316 Længsel (“I hvor jeg end slaar Øjet hen”)
TTBB
Text: Robert Burns; Danish translation: Caralis

15-16

ATB

b.15 note 1 to b.16 note 3:
added by analogy with S1, S2; b.16
note 4: added by analogy with
S1, S2
A: stanza 2: I dette Vers synger Tenorerne i 3die sidste takt ‘the tenors singin the third last bar of this stanza’(pseud. for Christian Preetzman)



16

T

V
18

B

n œ nœœ nœstanzas 3-4: A emended to A, e byanalogy with stanzas 1-2

Dating: [1888]
SourcesA

Fair copy (MS 33 2053)

B

Printed text, Caralis [Christian Preetzmann],
Digte og Sange, Copenhagen 1867, pp. 73-75

Nielsen’s fair copy of the vocal score with the ﬁrst
stanza placed below each staff has been elected as

315 “Byd mig at leve”

copy text; stanzas 2-4, however, have been added in

TTBB
Text: Robert Herrick; Danish translation: Caralis(pseud. for Christian Preetzman)
Dating: [1888]
SourcesA

Fair copy, autograph (MS 33 2020)

B

Printed text, Caralis [Christian Preetzmann], Digteaccordance with Digte og Sange (B). Additions andchanges are all noted below.
Bar

Part

1

T2

3

T2

7

T2

Comment
stanzas 2-4 added in accordancewith B
A: notes 2-3: illegible change inpencil
A: note 1: e ' changed to g' inpencilA: phrase changed in pencil from

7

B1

A: phrase changed in pencil from

9
10

T2
T2

A: note 4: c' changed to a' in pencil
A: phrase changed in pencil fromog Sange, Copenhagen 1867, pp. 25-26
Nielsen’s fair copy of the vocal score with the ﬁrst
stanza placed below each staff has been elected ascopy text; stanzas 2-6, however, have been added inaccordance with Digte og Sange (B). The additions andchanges are all noted below.
Bar

2
3

Part

T1
B1

4
4
5
6
6

B1
B2
B2
T1
T2

6

B1

Comment
stanzas 2-6 added in accordancewith B
A: note 1: changed to  in ink
A: notes 3-4: d-e changed to a-g inink
A: note 3: g changed to a in ink
A: note 3: B  changed to A in ink
A: note 4: G changed to c in ink
A: note 3: e'' changed to c'' in ink
A: notes 3-4: a'' - a'' changed to c'' - c''in ink
A: notes 3-4: f - c changed to c-A in
ink

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 503

V œ œJ œ œJ? œ œ œ œ œJJV

œ œ œ œ
J
J

11

T2

A: phrase changed from11

B1

in pencil
A: phrase changed from12

T2

in pencil
A: phrase changed fromjV œ œ œ œ œj
? œœ œ œ œ
J J

V œ.

j
œ œ

in pencil

503

22/02/09 8:32:41

12

T2

A: phrase changed to7

B1

in pencil and crossed out
A: phrase changed from

8

13

16

T2 B1

? œ.

œ bœ
J

T1

? œ œ œ œJJin pencil
note 1:  emended to  by analogy
with T1, B2

A: bort kan i Aar ej changed fromman i Aar ej bort in B because ofrhythm
A: notes invisible due to water
damage and notes 1-2 added in ink

318 Til Asali (“Før drømte jeg fast hver eneste Nat”)
TTBB
Text: J.P. Jacobsen
Dating: [1888]

317 “Det bødes der for i lange Aar”
TTBB

Sources

Text: J.P. Jacobsen

A

Fair copy, autograph (MS 33 2020)

Dating: 4.12.1887

B

Text (3)SourcesNielsen’s fair copy of the vocal score with the ﬁrst

A

Fair copy (MS 33 2053)

stanza placed below each staff has been elected

B

Text (9)as copy text; stanza 2, however, has been added inaccordance with the version for voice, pf. (B). The

Nielsen’s fair copy of the vocal score with the ﬁrst

added stanza has been emended in accordance withstanza placed below each staff has been elected as

Nielsen’s score; these changes as well as the additions

copy text; stanzas 2-4, however, have been added inand changes in the main source are noted below.

accordance with the version for voice, pf. (B). The added stanzas have been emended according to Nielsen’s

Bar

Part

2
2
2

T2
B1
B2

4
8
8
8

B1
T2
B1
B1

8

B1

8

T1 T2
B1 B2

score; these changes as well as the additions andchanges made in the copy text are noted below.
Bar

Part

1
1
2

T2
B1

5

5

T1

5

B1

5
6

B2
T2

Comment
stanzas 1-4 added in accordancewith B
A: note 5: e '' changed to c'' in pencil
A: note 5: g changed to e  in pencil
stanza 1: lange emended frommange as in B
stanza 4: Smil er Glans kun af
emended to Smil er kun Glans af
because of rhythm by analogy
with change of order of words instanza 1
A: notes 4-6: c' - c' - c' changed toe '' - c' - e '' in pencil
A: phrase changed from

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 504

after last crotchet omitted

319 “Kom blankeste Sol”
TTBB

? œ œJ œJ œ œJ œJin pencil
A: note 6: e  changed to c in pencil
note 3: a' emended to a ' byanalogy with b.5 notes 5-6 and inaccordance with the harmony

Comment
title and stanzas 1-2 added inaccordance with B
A: note 3: a' changed to e'
A: note 3: d changed to c
A: note 3: chord F, A changed tonote A
A: note 4: f changed to gnote 1:  emended to 
notes 1-2: slur added because of text
A: note 1:  (B ) changed to 
(B - f ); note 3:  (c) changed to (e)note 3: emended to  by analogy
with the other parts

Text: Albert Thura
Dating: [1906]
Other versions: 385 (SSA), 386 (SA)
SourcesA

Print (PR 64)

504

22/02/09 8:32:41

B1 B2The printed vocal score (A) has been elected as copy
text.
Bar

Part

+1

T2 B1

1

T2 B1

Comment
Albert Thura added
title Kom blankeste Sol! / Sang til
Kolding Latinskoles majfest. (Teksten
fra 22 Maj.1750.) omitted
marc. added by analogy with
T1, B2
note 5: marc added by analogy
with T1, B2
stanza 2: Pryd emended from Fryd(compositor’s error)
stanza 2: al emended from at(compositor’s error)
note 5: ten. added by analogy with
T1, B2

8
9
10

T2 B1

320 Fædrelandssang (“Du danske Mand! af al din Magt”)

B: ﬁnal bar line: 
B: below ﬁnal system: 2den og 3die Vers(se Udgaven for Sang og Piano!) ‘second
and third stanzas (see the version
for voice and piano)’ added (CN)321 Aftenstemning (“Alt Skoven sig fordunkler”)
TTBB
Text: Mathias Claudius; Danish translation:
Carsten Hauch
Dating: 1908
SourcesA

Print (PR 66)

The printed vocal score (A) has been elected as copy text.
Bar

Part

TTBB

Comment
German text omitted, see p. 311

Text: Holger Drachmann
322 Til Snapsen i ‘Bel Canto’ (“Endskønt jeg ganske

Dating: 1906
Other versions: 167 (pf.), 224 (voice, pf.), 300,

sikkert ved”)(SATB), 339 (SA), 391 (SSA)

TTBB
Text: Aage Berntsen
Dating: 16.9.1909

Sources
1

A

Print (PR 65 )B

Printing manuscript, autograph (MS 33 2077)

SourcesC

Printing manuscript (voice, pf.), autograph (MSA

Fair copy, autograph (MS 33 2263)

33 2076)

B

Draft (MS 33 2264)

D

Print (PR 652)
The fair copy (A), based on the draft (B), has been elect-

The print (A), which is based on the printing manuscript (B), has been elected as copy text; stanzas 2-3 areborrowed from the printing manuscript to the version
for voice, pf. (C); D is a reprint of A; variants in B are

ed as copy text. Variants in the draft are noted below.
Bar

Part

+1

T1 T2
B1 b2
T1 T2
TB
T1 T2
B1 B2
T1 T2
B1 B2
B1 B2

noted below.
Bar
+1
3
5
13
17
18

Part
T1 T2
B1 B2
B2
B1
T1 T2
B1 B2
T1 T2
B1 B2
T1 T2

CommentB:
instead of
B: note 2: d changed to B  (CN)
marc. added by analogy with B2

 instead of 
B: note 1:  instead of ﬀ

B: note 1:

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 505

4
7
9
12
12
13
13

T1 T2
B1 B2
T1 T2
B1 B2

Comment
B: underfundigt ‘with roguishness’B:
B: ﬁrst crotchet: 
B: notes 3-4: dim
B: stringendo
B: rallnote 1:  added by analogy with
T1, T2
B: rall largo
B: notes 1-2: marc. instead of ten.

505

22/02/09 8:32:42

323 De unges Sang (“Vi ﬁk ej under Tidernes Tryk”)
TTBB

B

Printing manuscript, autograph (MS 33 2023)

C

Draft without text (MS 33 2026)

Text: Jens Christian Hostrup
Dating: [1909]

The printed vocal score (A), based on the printing

Other versions: 155 (pf.), 227 (pf.), 360 (SSA)

manuscript (B), has been elected as copy text.

SourcesA

Print (PR 67)

B

Draft without text (MS 33 2264)

Bar

Part

7

T2 B2

The printed vocal score (A), based on an unknown
printing manuscript presumably made from theComment
above top system (Børnehjælpssangenfor Mandsstemmer.) ‘(Child Welfare
Song for male voices)’ omitted
marc. added by analogy with T1, B1
B: instructions for syllabic divisionin stanzas 2-6 added in ink below
ﬁnal system (CN)draft (B), has been elected as copy text.
Bar
10

Part
T2 B2

Comment
marc. added by analogy with T1, B1

326 “Fredlys din Jord, Du danske Mand!”
TTBB
Text: Anders W. Holm
Dating: [1914]

324 Paaske-Liljen (“Paaskeblomst! En Draabe stærk”)

Other versions: 233 (voice, pf.)

TTBB
Text: N.F.S. Grundtvig
Dating: [1910]

Sources

Other versions: 146 (pf.), 229 (pf.)

A

Print (PR 70)

B

Draft without text (MS 33 1048)

C

Text (233)

SourcesA

Print (PR 68)

B

Printing manuscript, autograph (MS 33 2183)

The printed vocal score (A), based on an unknown
printing manuscript (B), has been elected as copy

The printed vocal score (A), based on the printing

text; the text, however, has been added in accordance

manuscript (B), has been elected as copy text.

with the version for voice, pf. (C).

Bar
1
8
9
11-12
16

Bar

Part

3
8

B1 B2
T1 T2
B1 B2

Part
B2
T2 B1 B2
B2
B2

Comment
B: note 1: a instead of A
added in pencil
B:
B: note 4: A corrected to B in ink
B:added in pencil
B: ﬁnal bar line: 

12

B1 B2



superﬂuous cresc. omitted (changeof system) in accordance with B
B: phrase changed from? œ˙ ˙ œ œ325 “Vi Børn, vi Børn, vi vaagner”
TTBB

B: ﬁnal bar line: 13

Text: Johannes Jørgensen

Comment
text added in accordance with C
added by analogy with T1, T2

Dating: 27.5.1911
Other versions: 230 (pf.), 305 (SATB), 388 (SA)327 “Ak, Julesne fra Bethlehem”
S solo, TTBB
Text: Johannes Jørgensen

SourcesA

Dating: 13.12.1914.

Print (PR 69)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 506

506

22/02/09 8:32:42

SourcesA
B

The printed vocal score (A), based on the printing

Fair copy, autograph (MS Ext. 271)
2

Manuscript copy (MS Ext. 27 )manuscript (B) which possibly was drafted from thefair copy without text, has been elected as copy text.
All the sources have been collated and variants are

The fair copy (A) has been elected as copy text. The

noted below.

manuscript copy (B) has not been used in the revisionand there is no evidence suggesting when it was made.
Bar
1-46

Part
T1 T2

2
13

B1

21, 41

Comment
dynamic markings added by analogy with B1, B2
A: left bar line: repeat mark addedin pencil
note 1: g emended to f  by analogy
with b.33
A: right bar line: repeat markadded in pencil

Bar
11-12

11

Part
T1 TB
B1 B2
B1 B2

Comment
D: bars crossed out in pencil, b.11
added below system
D: notes 2: e, g instead of d, f 

330 “Den danske Sang er en ung, blond Pige”
TTBB
Text: Kai Hoffmann
Dating: [1926/1927]
Other versions: 191 (pf.)

328 “Hil dig vor Fane!”
TTBB

Sources

Text: N.F.S. Grundtvig

A

Fair copy, autograph (MS 33 2223)

Dating: [1915]

B

Draft without text (MS 33 2038)

C

Text (191)

SourcesA

Fair copy, autograph (MS Ext. 28)

The fair copy (A), which is based on the draft (B), has

B

Draft without text (MS 33 2167)

been elected as copy text, the text, however, has been
added in accordance with the version for pf. (C).

The fair copy (A), which is based on the draft (B), hasbeen elected as copy text.
Bar
4

Part
T1 T2
B1

Comment
B: notated in bass clef
note 1: brackets omitted

Bar

Part

1

T2

Comment
stanzas 2-3 added as in C
B: note 5: b '

331 Til min Fødeø (“Blidt vugges du i Himmelseng”)
TTBB
Text: S.P. Raben-Korch

329 “Der er et yndigt Land”

Dating: 27.11.1929

TTBB
Text: Adam Oehlenschläger
Dating: 1924

Sources

Other versions: 262 (pf.), 291 (voice, orch.), 307

A

Fair copy, autograph (MS 33 2223)(SATTB), 308 (SATB), 334 (SSA), 394 (SSAA)

B

Draft without text (MS 33 2276)

C

Text, letter from S.P. Raben-Korch to Nielsen(MS Ext. 29)

SourcesA

Print (PR 71)

B

Printing manuscript, autograph (MS 33 2044)

The fair copy (A), based on the draft (B), has been

C

Fair copy without text, autograph (MS 33 2045)

elected as copy text; ﬁve stanzas, however, have been

D

Draft (MS 33 2145)

added in accordance with letter from S.P. RabenKorch to Nielsen (C).

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 507

507

22/02/09 8:32:42

Bar

Part

1
1

T2
B2

Comment
B: source also includes a sketch inE  major
stanzas 4, 5, 6, 7, 9 added in accordance with C
B: note 2: f '
B: notes 2-3: d- B

332 Kvadet om Nordens Harpe (“Nordens herlige Harpe!”)

36

B2

38

T1 T2
B1 B2
T1 T2
B1 B2
T1 T2
B1 B2

39
40-42

44

T1

44
44

T1 T2
B1 B2
T2

45

T2

49-50

T1 T2
B1 B2

TTBB
Text: Aage Berntsen
Dating: 1931
SourcesA

Print (PR 72)

B

Fair copy, autograph (MS 33 2249)

C

Draft with text enclosed (MS 33 2250)

D

Text, typewritten (MS Ext. 30)

The printed vocal score (A), based on an unknown

49

B2

52

T1 T2
B1 B2

printing manuscript which most likely was drafted

note 3: g  emended to g by analogy with bb.10, 23
B: note 1:ﬀ


B: last note:

B: b.40 note 1 to b.43 last bar line:(f '' - e'' ) changed to 

B: note 5:(e'' )ﬀ

B: note 1:
instead of
B: note 5:(d'' - c '' ) changed to (c '' )note 3: marc. added by analogy
with bb.6, 19, 32
B: b.49 note 2: beginning ofnote 3: g  emended to g by analogy with bb.10, 23, 36
B: last note: (lang); last note to
ﬁnal bar line:on the fair copy (B) that was based on the draft (C),has been elected as copy text.
B I D R A G
Bar
3

5

Part
T1 T2
B1 B2
T1 T2
B1 B2
T1 T2
B1 B2
T1

5

T2

7

T1 T2
B1 B2
T1
T1 T2
B1 B2
T1 T2
B1 B2
T1 T2
B1 B2
T1 T2
B1 B2
T1
T2

3-4
4

10
13
16
16-17
29
31
31
33

T1 T2
B1 B2

CommentB: instead og 

B: end ofb.4 note 2

B: note 2:
B: note 5: 8- note (f '' - e'' ) changed
to  (e'' )B: note 5:(d'' - c '' ) changed to (c '' )M E L O D I E R

T I L

D A N M A R K ’

The ﬁrst printed edition of Melodier til Sangbogen “Danmark” (1924) has been elected as copy text for all thesongs (A). In 1940, the collection was printed in “anew revised edition”. There are no indications thatNielsen had anything to do with this new edition
already in 1926/27 as the entry in Fog & Schousboe(1965) seems to imply (the dating is clearly erroneousB:
B: note 5: f '' changed to b 'since song 270 was not composed until 1928). A colla-
B:  instead of that only minor changes were included; these have

B: last bar line:

B: end oftion of A with the 1940-edition reveals furthermore
not been relevant and hence not listed in the Editorial Emendations and Alternative Readings. The printing

b.4 note 2manuscript has apparently not survived while a draft
which is partly autograph (that is, Albert Jørgensen

B: instead of
B: note 5:(f '' - e'' ) changed to  (e'' )B: note 5:(d'' - c '' ) changed to (c '' )wrote the melody in ink and Nielsen then addedB:

are often incomplete or in a version different from A.

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 508

T I L‘ S A N G B O G E N

the other vocal parts in pencil) includes many of thesongs. Most of the surviving drafts and sketches havenot been relevant for the present revision since they508

22/02/09 8:32:43

The copy text regarding the text is Albert Jørgensen

B

Draft (MS 33 2036)(ed.), Danmark Sangbog for Skolen og Hjemmet, Copen-C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

hagen 1924.
333 “Dannevang med grønne Bred”

Bar

Part

SA
Text: B.S. Ingemann336 “Lad en og anden have Ret”

Dating: [1924]

SSA

Other versions: 199 (pf.)

Text: Peter Faber
Dating: [1924]

SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2036)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

2
15

A
A

Comment
A: 1b*; B: No 1;
B: second dotted crotchet:  (b' ) (a' )B: note 2: g'

334 “Der er et yndigt Land”
SSA
Text: Adam Oehlenschläger
Dating: [1924]

Other versions: 252 (pf.)
SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2144)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

14
14

S1
S2

SA
Text: Carsten Hauch

307 (SATTB), 308 (SATB), 329 (TTBB), 394 (SSAA)

Dating: [1924]
Other versions: 128 (pf.), 162 (pf.)

SourcesA

Print, ﬁrst edition (PR 731)

B

Sketch/draft (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second editionPart

Comment
A: 12*
B: note 2: note added in ink
B: note 3: g

337 “Morgendug, der sagte bæver”

Other versions: 262 (pf.), 291 (voice and orch.),Bar

Comment
A: 6; B: No 6

Comment
A: 4b*

SourcesA

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

335 “Rosen blusser alt i Danas Have”
SA

Part

Comment
A: 13

338 “Se dig ud en Sommerdag”
SA

Text: Poul Martin Møller

Text: Jeppe Aakjær

Dating: [1924]

Dating: [1924]

Other versions: 94 (voice, pf.), 164 (pf.)

Other versions: 106 (voice, pf.), 175 (pf.)

SourcesA

Print, ﬁrst edition (PR 731)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 509

509

22/02/09 8:32:43

SourcesA

Print, ﬁrst edition (PR 731)

B

Draft, partly autograph (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

7
9

S2
stanza 4

11

S2

C: note 5:  added in ink (CN?)
Natten den lyse emended to Natten,
den lyse
C: notes 2-3: omitted

341 “Vi elsker vort blomstrende Fædreland”
SA

Bar

Part

Comment
A: 21

Text: Axel Juel
Dating: [1924]
Other versions: 242 (voice, pf.), 253 (pf.)

339 “Du danske Mand”
SA

Sources

Text: Holger Drachmann
Dating: [1924]
Other versions: 167 (pf.), 300 (SATB), 320 (TTBB),
391 (SSA)

A

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2030)

C

Draft (MS 33 2029)

D

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

SourcesA

Print, ﬁrst edition (PR 731)

B

Draft, partly autograph (MS 33 2152)

C

Print (PR732)

D

Printed text, Danmark Sangbog for Skolen og Hjem-

Bar

Part

18
19

A
S

Comment
A: 29*; B, C: No 29
B: note 4: e'
B: note 4: c'met, Copenhagen 1924, second edition
342 “Som en rejselysten Flaade”
Bar
6
11
13
17

Part
A
A
A
A

SSA

Comment
A: 23
B: note 4: c'
B: note 4: 
B: second to third crotchet: 
B: second crotchet:  (b)340 “Du gav os de Blomster”

Text: Helge Rode
Dating: [1924]
Other versions: 124 (voice, pf.), 177 (pf.), 306(SATB)
Sources

SSA

A

Print, ﬁrst edition (PR 731)

Text: Helge Rode

B

Draft, partly autograph (MS 33 2152)

Dating: [1924]

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

SourcesA

Print, ﬁrst edition (PR 731)

B

Fair copy, autograph (MS 33 2062)

C

Draft, partly autograph (MS 33 2152)

D

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

3
4

S2
S2

Comment
A: 28*; B: No 28
B: notes 5-6: c' - c'
B: note 5: omitted

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 510

Bar

Part

12
13
14

stanza 2
stanza 3

18

A

Comment
A: 30
Hil Jer vore emended to Hil Jer, vore
Jacobstige emended to Jacobsstige
4 2
B: bar changed from 4 to 4 inpencil (CN)
B: note 1: omitted

343 “Kær est du, Fødeland”
SSA
Text: Steen Steensen Blicher

510

22/02/09 8:32:43

Dating: [1924]

345 “Underlige Aftenlufte!”

Other versions: 254 (voice, pf.)

SSA
Text: Adam Oehlenschläger

Sources

Dating: [1924]

A

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2144)

C

Draft, partly autograph (MS 33 2152)

SourcesD

Printed text, Danmark Sangbog for Skolen og Hjem-

A

Print, ﬁrst edition (PR 731)

met, Copenhagen 1924, second edition

B

Printed text, Danmark Sangbog for Skolen og Hjem-

Other versions: 163 (pf.), 309 (SATB)

met, Copenhagen 1924, second edition
Bar

Part

2
5
8

S2, A
S1
A

Comment
A: 39*
B: notes 1-2: c' - c'
B: notes 3-4: 
B: note 4: g

Bar

Part

Comment
A: 44

346 “Den kedsom Vinter gik sin Gang”
SSA

344 “Der dukker af Disen”

Text: Ambrosius StubSA

Dating: [1924]

Text: Jeppe Aakjær
Dating: [1924]
Other versions: 107 (voice, pf.), 205 (pf.)
Sources
1

A

Print, ﬁrst edition (PR 73 )B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

3-4
11-12

stanza 1

11-12

stanza 2

11-12

stanza 3

11-12

stanza 4

11-12

stanza 5

11-12

stanza 6

11-12

stanza 7

11-12

stanza 8

11-12

stanza 9

11-12

stanza 10

Comment
A: 43
bar line added
Landet i Landet emended to Landet,er Landet
op mod dens op mod dens emended
to op mod dens, op mod densvældende vældende emended tovældende, vældende
Behold i Behold emended to Behold, i
Beholdpaa Banker den Banker emended to
paa Banker, paa Banker
bag Grønkaal og Grønkaal emended
to bag Grønkaal, bag Grønkaal
om Sokkel og Sokkel emended to om
Sokkel, om Sokkel
Valmuer Valmuer emended to
Valmuer, Valmuer
og rynket at rynket emended to og
rynket, og rynket
saa kroget en kroget emended to saa
kroget, saa kroget

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 511

SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

Comment
A: 45* and title Det danske Aar

347 “Frydeligt med Jubelkor”
SA
Text: Morten Børup
Dating: [1924]
Other versions: 207 (pf.), 387 (SSA), 422 (unison
song)
SourcesA

Print, ﬁrst edition (PR 731)

B

Manuscript copy, partly autograph (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

Comment
A: 51

511

22/02/09 8:32:44

Bar

348 “Grøn er Vaarens Hæk”

Part

SSA
Text: Poul Martin Møller

351 “Nu lyser Løv i Lunde”

Dating: [1924]

SA

Other versions: 188 (voice, pf.), 403 (unison song)

Text: Johannes Jørgensen
Dating: [1924]

SourcesA

Print, ﬁrst edition (PR 731)

B

Fair copy, autograph (MS 33 2090)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

9
10-11
16

stanza 3
stanza 6
stanza 2

Comment
A: 58b*hun et let! emended to hun er let
blir saa om emended to blir saa øm
sin Hale vipper; emended to sin Halevipper.

349 “Nu er Dagen fuld af Sang”

Other versions: 143 (pf.), 172 (pf.)
SourcesA

Print, ﬁrst edition (PR 731)

B

Draft, partly autograph (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Comment
A: 66

SA
Text: Michael Rosing

Text: Jeppe Aakjær

Dating: [1924]

Dating: [1924]

Other versions: 190 (voice, pf.), 255 (pf.)

Other versions: 98 (voice, pf.), 170 (pf.)

Sources

SourcesA

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition
Part

Part

352 “O, hvor jeg er glad i Dag!”

SSA

Bar

Comment
A: 64aComment
A: 59; B: Paa Vaarengen. / En Flok Landsbypiger / plukker Blomster og synger.

A

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

Comment
A: 70*

353 “Nu Sol i Øst oprinder mild”

350 “I Skyggen vi vanke”

SSA

S

Text: C.J. Brandt

Text: Adam Oehlenschläger

Dating: [1924]

Dating: [1924]

Other versions: 71 (pf.)

Other versions: 89 (voice, pf.), 176 (pf.), 288(SSAA, pf.)

Sources
SourcesA

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjem-

A

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2049)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

met, Copenhagen 1924, second edition

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 512

512

22/02/09 8:32:44

Bar

Part

Comment
A: 89

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

354 “Jeg lægger mig saa trygt til Ro”

Bar

Part

1
12

stanza 5
stanza 2

SSA
Text: Christian Winther
Dating: [1924]

Comment
A: 134*; C: title Bjarkemaalets
Efterklang.
Sol er oppe, emended to Sol er oppe!
Konge Sale emended to Konge=Sale

Other versions: 189 (voice, pf.)
357 “De snækker mødtes i Kvæld paa Hav”
Sources

SSA

A

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjem-

Text: N.F.S. Grundtvig
Dating: [1924]
Other versions: 135 (pf.), 160 (pf.)

met, Copenhagen 1924, second edition
Bar

Part

5

stanza 1

8

S2 A

Comment
A: 107*thi du min Gud emended to Thi du,min Gud
B: note 3: d' / b

SourcesA

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

355 “Tyst som Aa i Engen rinder”
SSA
Text: Helge Rode
Dating: [1924]
Other versions: 184 (voice, pf.), 256 (pf.), 395 (SA)358 “Søndret Folk er vokset sammen”
SSA
Text: Helge Rode

SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2029)

C

Draft (MS 33 2036)

D

Printed text, Danmark Sangbog for Skolen og Hjem-

Part

Dating: [1924]
Sourcesmet, Copenhagen 1924, second edition
Bar

Comment
A: 161; B: Indskrift paa Mindestenenover de faldne fra “Prins Kristian” paa
Oddens Kirkegaard

Comment
A: 125*; B: No 125; C: No 125A

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

Comment
A: 180; B: Dybbøl Mølle. Melodi: Somen rejselysten Flaade

356 “Sol er oppe!”
SSA

359 “Udrundne er de gamle Dage”

Text: N.F.S. Grundtvig

S

Dating: [1924]

Text: N.F.S. Grundtvig
Dating: [1924]

Sources

Other versions: 116 (pf.), 140 (pf.), 147 (pf.), 312

A

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 513(SATB)

513

22/02/09 8:32:44

Sources362 “Er din Stue lav og trang”

A

Print, ﬁrst edition (PR 731)

SA

B

Printed text, Danmark Sangbog for Skolen og Hjem-

Text: L.C. Nielsen

met, Copenhagen 1924, second edition

Dating: [1924]

Bar

Part

Comment
A: 183

Sources360 “Vi ﬁk ej under Tidernes Tryk”

A

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

SSA
Text: Jens Christian Hostrup

Bar

Part

Dating: [1924]
Other versions: 155 (pf.), 227 (pf.), 323 (TTBB)

Comment
A: 191; B: Melodi: Dannevang med
grønne Bred.

363 “Paa det jævne, paa det jævne!”

Sources
Print, ﬁrst edition (PR 73 )SSA

B

Fair copy, autograph (MS 33 2235)

Text: H.V. KaalundC

Fair copy, partly autograph (MS33 32 3012)

Dating: [1924]

D

Printed text, Danmark Sangbog for Skolen og Hjem-

Other versions: 125 (pf.), 156 (pf.)

A

1met, Copenhagen 1924, second edition
Sources
Bar

Part

2, 4
9
12
13
16

S1
S1 S2
S1 S2
S1
S1 S2

Comment
A: 186
C: notes 4-5: 
C: note 1:
C:
C: note 1:
third crotchet: d' emended to e'
by analogy with key and A and inaccordance with CﬀAPrint, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

Comment
A: 193364 “Byg paa Sletten”
SA

361 “Danmark, i tusind Aar”

Text: Zakarias Nielsen

S

Dating: [1924]

Text: Valdemar Rørdam

Other versions: 257 (pf.)

Dating: [1924]
Other versions: 111 (voice, pf.), 390 (SA)
SourcesA

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjem-

SourcesA

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

B

Draft (MS 33 2201)

met, Copenhagen 1924, second edition
Bar
Bar

Part

Comment
A: 1894Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 514

Part

Comment
A: 195*fourth crotchet: emended to514

22/02/09 8:32:45

Bar

365 “Vi fri Folk fra Norden”

Part

SSA
Text: Valdemar Rørdam

368 “Naar Somrens Sang er sungen”

Dating: [1924]

SSA

Other versions: 418 (unison song)

Text: Jens Christian Hostrup
Dating: [1924]

SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

Comment
A: 200

Other versions: 134 (pf.), 153 (pf.)
SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

366 “Vældige Riger rives om Jorden”

Bar

Part

SSA
Text: Ahrent Otterstrøm

SSA

Other versions: 258 (pf.)

Text: Christian Richardt
Dating: [1924]

SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition
Part

7

S2

7
8

A
S1 S2

Comment
A: 219369 “Sov, mit Barn, sov længe”

Dating: [1924]

Bar

Comment
A: 212

Comment
A: 210*note 4: f ' emended to d' in accordance with B; B: two distinct pitches(S1, S2) are notated (d' and f ' )B: notes 1-2: added in ink (CN)
B: ﬁrst crotchet: SourcesA

Print, ﬁrst edition (PR 731)

B

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

Comment
A: 222b370 “Spurven sidder stum bag Kvist”
SSA
Text: Jeppe Aakjær
Dating: [1924]

367 “Havet omkring Danmark”

Other versions: 185 (voice, pf.), 407 (unison song)

SSA
Text: L.C. Nielsen

Sources

Dating: [1924]
Other versions: 31 (voice, pf.), 203 (pf.)
SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

C

Printed text, Danmark Sangbog for Skolen og Hjem-

A

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2208)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second editionBar

met, Copenhagen 1924, second edition

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 515

Part

Comment
A: 225b*; C: the songbook lists
Thorvald Aagaard as the composerof this melody

515

22/02/09 8:32:45

926

stanzas 1, 8 Lul in italic emended to romanstanza 8
Rokken gaar, emended to Rokken gaar!

371 “Farvel min velsignede Fødeby!”C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

3

S

SA
Text: Poul Martin Møller

Comment
A: 249; B: No 249
B: note 1: Dating: [1924]
Other versions: 96 (voice, pf.), 174 (pf.)

374 “Solen er saa rød, Mor”
SSA
Text: Harald Bergstedt

SourcesA

Print, ﬁrst edition (PR 731)

Dating: [1924]

B

Draft (MS 33 2152)

Other versions: 183 (voice, pf.), 259 (pf.)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

Comment
A: 230SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2152)

C

Draft (MS 33 2201)

D

Printed text, Danmark Sangbog for Skolen og Hjem-

372 “Ud gaar du nu paa Livets Vej”

met, Copenhagen 1924, second edition

S
Text: Steen Steensen Blicher

Bar

Part

Dating: [1924]

Comment
A: 258*Other versions: 88 (voice, pf.), 212 (pf.)
375 “Den Spillemand spiller paaa Strenge”
SA

SourcesA

Print, ﬁrst edition (PR 73 )Text: Mads Damm

B

Steen Steensen Blicher, Samlede Digte. Anden Deel,

Dating: [1924]

Copenhagen 1836, pp. 111-112

Other versions: 186 (voice, pf.), 292 (voice, 3 vl.)C

1

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

6

voice

Comment
A: 231
Nedgangs Sol emended to Medgangs
Sol by analogy with 212 and as B

373 “Jeg ved en Lærkerede”
SA
Text: Harald Bergstedt

SourcesA

Print, ﬁrst edition (PR 731)

B

Draft (MS 33 2206)

C

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Bar

Part

3
7

S
S

Comment
A: 262*; B: No 262
B: note 2: g'
B: note 2: b'

Dating: [1924]
Other versions: 182 (voice, pf.)

376 “Naar Smaabørn klynker ved Aftentide”
SA
Text: Christian Dabelsteen

SourcesA

Print, ﬁrst edition (PR 731)

Dating: [1924]

B

Draft (MS 33 2206)

Other versions: 187 (voice, pf.), 260 (pf.)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 516

516

22/02/09 8:32:45

Sources379 “Vægter jeg beder”

A

Print, ﬁrst edition (PR 731)

two-part canon

B

Draft (MS 33 2152)

Text: Ludvig Holberg

C

Draft (MS 33 2206)

Dating: [1930]

D

Printed text, Danmark Sangbog for Skolen og Hjemmet, Copenhagen 1924, second edition

Sources
A

Bar

Part

7

Comment
A: 264*
B: note 3: aAPrint (PR 74)

B

Draft (MS 33 2135)

C

Letter from Høffding to Carl Nielsen, 13.8.1930(DK-Kk, CNA I.A.b.,12)

B I D R A G
‘ 6 0

T I L

D A N S K E

K A N O N S ’

The printed edition of 1930 (A) has been elected as

Bar

Part

2

voice 2

3

voice 2

copy text; no printing manuscript has survived, only

Comment
A: 34.
note 1:
added by analogy withb.1 (voice 1)
note 3:  added in accordancewith imitation of the parts and inaccordance with Cdrafts (B).
380 “Ikke det altid slaar til”
377 Bokserne (“Ve’ du sla’ mej”)

three-part canon

three-part canon

Text: Ludvig Holberg

Text: Carl Nielsen (?)

Dating: [1930]

Dating: [1930]
Sources
SourcesA

Print (PR 74)

A

Print (PR 74)

B

Draft (MS 33 2135)

B

Draft (MS 33 2135)

Bar

Part

Comment
A: 18.
B: notated a whole tone higher(key signature: one sharp)

378 “Traaden brister, Rokken staar”
three-part canon

Bar

Part

3

voice 311
11

voice 3

two-part canon

Dating: [1930]

Text: Book of Job, V,22
Dating: [1930]

SourcesA

Print (PR 74)

B

Draft (MS 33 2250)
Part

8
8

voice 1voice 3

SourcesComment
A: 33.
B: notes 1-2:
B: notes 1-2:

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 517

381 “Du skal le ad Ødelæggelse”

Text: H.C. Andersen

Bar

Comment
A: 35.
B: Allegretto
added by analogy with b.1(voice 1) and b.2 (voice 2)
B: note 5: largo
B: note 4: c'A

Print (PR 74)

B

Draft (MS 33 2085)

Bar

Part

Comment
A: 36.
B: notated in C major

517

22/02/09 8:32:45

382 “Stilhed og Mørke”

384 Edderkoppens Sang af ‘Aladdin’ (“Betragt mit svage

two-part canon

Spind”)

Text: Einar Christiansen

SSA

Dating: [1930]

Text: Adam Oehlenschläger
Dating: 4.12.1899

SourcesA

Print (PR 74)

Sources

B

Draft (MS 33 2135)

A

Print (PR 76)

B

Printing manuscript, autograph (MS 33 2064)

C

Draft (MS 33 2065)

Bar

Part

Comment
A: 37.; text: E. Christiansen efter Carl
Nielsen; B: notated a semitone
higher

The printed vocal score (A), based on the printing
manuscript (B), has been elected as copy text. Source
A has been collated with the printing manuscript (B)S E PA R A T E

S O N G S

383 Græshoppen (“Græshoppen sidder paa Engen”)

and the draft (C).
Bar

Part

10
24-25

S2

SA
Text: B.S. Ingemann
Dating: [1898?]
SourcesA

Print (PR 75)

B

Sketch (MS 33 2088)

Comment
C: Moderato instead of Moderato,quasi Allegretto
B: notes 1-2: 
B:

& nœ.

œ
J

nœ .
J

œ œ
R J

Magt

med

j
nœ

et

op - mærk - somt

& #œ.

j r j j#œ . œ œ œ

Magt

med

et

op - mærk - somt

& nœ.

j
œ

j
œ.

r œj œj
œThe printed vocal score (A) has been elected as copy

Magttext. The incomplete sketch (B) has clearly common
traits with the printed edition (A); hence the composer of the song is most likely Nielsen which cannot

28
36

S2

œ
J

med

ét

op - mærk - somt

B: notes 1-2: 
rest 1 emended from to becauseof b.+1

be documented in any other way.
Bar

1

Part

A

2
5

A

7

A

8

Comment
B: in G major; E Dur ‘E major’
added above system; All moderato
notes 4-6: stacc. added by analogy
with notes 1-3
stanzas 1-3: between last two syllables: breathing mark omitted
notes 1-3, 5: stacc. added by analogy with S
note 5: added because of text instanza 2
ﬁnal bar line: repeat mark omitted

385 “Kom blankeste Sol”
SSA
Text: Albert Thura
Dating: [1901]
Other versions: 386 (SA), 319 (TTBB)
SourcesA

Print (PR 771)

B

Print (PR 772)

C

Print (PR 773)

D

Manuscript copy, Henrik Knudsen (MS 33 2140
recto)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 518

518

22/02/09 8:32:46

The printed vocal score (A), based on an unknown

11

SA

printing manuscript presumably drafted by Henrik
Knudsen from his own manuscript copy (D), has been
elected as copy text for this version. Source A is most

387 Morten Børups Majvise (“Frydeligt med Jubelkor”)
SSA

likely the original source for the prints (B, C) and

Text: Morten Børup; Danish translation: Frederikwith which A has been collated.
Bar

Part

+1
4
6
10
11
12

S1 S2 AS1 S2 AS1 S2 AS1 S2 AS1 S2 AS1 S2 A

Comment
Sang til Kolding Latinskoles Majfest /(Teksten fra 22nde Maj 1730) ‘A Songfor Kolding Latinskole’s May Festival / (Text of 22 May 1730)’ omitted
B, C: note 1:
note 5:added as in B, C, D
note 5:added as in B, C, D
note 5: , ten. added as in B, C, D
note 1: ten. added as in C, D
ﬁnal bar line: repeat mark omitted







note 1: ten. added in accordancewith B

Moth
Dating: [1906]
Other versions: 207 (pf.), 347 (SA)
SourcesA

Print (PR 781)

B

Print (PR 782)C

Print (PR 783)

The vocal score (A), based on an unknown printing
manuscript, has been elected as copy text. Source A
is most likely the original source for the prints (B, C)

386 “Kom blankeste Sol”

and with which A has been collated.

SA
Text: Albert Thura
Dating: 9.4.1901

Bar

Part

7-8

S1 S2 A

Other versions: 385 (SSA), 319 (TTBB)
SourcesA

Manuscript copy without text, Henrik Knudsen
388 “Vi Børn, vi Børn, vi vaagner”(MS 33 2140 verso)
B

Comment
B: above top system: KomponistensUdsættelse
b.7 note 3 to b.8 note 2: marc.
added by analogy with bb.3-4

SA

Text and music (385)Text: Johannes Jørgensen
Henrik Knudsen’s manuscript copy without text (A),Dating: 1911

presumably drafted at the same time as the manuscript

Other versions: 230 (pf.), 305 (SATB), 325 (TTBB)

copy for SSA (385), has been elected as copy text for thisversion; text and dynamics, however, have been added

Sourcesin accordance with the printed edition for SSA (B).

A

Print, facsimile of autograph (PR 79)

B

Fair copy, autograph (MS 33 2022)

C

Draft (MS 33 1043)

Bar

Part

4

SA

6

SA

6

A

10

SA

Comment
text added in accordance with B
Marziale added in accordancewith Bnote 5:added in accordancewith Bnote 5:added in accordancewith Bnote 5: f ' emended to g' in accordance with B
note 5: ten. added in accordancewith BCarl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 519

The vocal score (A), which has been collated withthe second fair copy (B) and the draft (C), has been
elected as copy text.
Bar

Part

4
7

SA
S

Comment
B: Allegretto instead of Andantino
quasi allegretto
B: note 1 to rest 1: 
B: notes 1, 3: marc.

519

22/02/09 8:32:46

389 Barnets Sang (“Kom, i Dag maa alle synge”)

Bar

Part

4

A

5

A

12

A

13

A

14

A

SA
Text: Johannes Dam
Dating: [1915]
Other versions: 236 (pf.)
SourcesA

Fair copy, autograph (MS 33 2014)

B

Draft without text (MS 33 2015)

C

Text (236)The fair copy (A), which has been collated with

391 Fædrelandssang (“Du danske mand! af al din magt”)
SSA

the draft (B), has been elected as copy text for thisText: Holger Drachmannversion; the text, however, has been added in accord-

Dating: [1906/1920]

ance with the printed edition for pf. (C).
Bar

Part

1
2
2
4

A

9-17
9-10
15

A
A

Comment
below title: (for to lige Stemmer) ‘fortwo equal voices’ omitted
stanzas 1-3 added in accordancewith C
3
beginning of top staff: 4 added
stanza 3: Liv emended to Sind inaccordance with C
B: note 4: ( f' ) -  (e' )stanza 2: øjet emended to øjne inaccordance with C4
2
B: 4 instead of 4
B: same phrase as S
B: notes 1-2: a-b changed in pencil
to unis; note 4: b  instead of gComment
stanzas 1-3 added in accordancewith B
notes 1-2:  emended to 
because of text
notes 1-2, 3-4: slurs added becauseof text
notes 1-2:  emended to 
because of text
note 2: e' changed to c' in blue
crayonc' changed to a in blue crayon

Other versions: 167 (pf.), 224 (voice, pf.), 300(SATB), 320 (TTBB), 339 (SA)
SourcesA

Print (PR 80)

The printed vocal score (A) has been elected as copy
text.
392 “Min Pige er saa lys som Rav”
SA
Text: Helge Rode
Dating: [1921]
Other versions: 118 (voice, pf.)

390 Hymne til Danmark (“Danmark, i tusind Aar”)
SourcesSA

A

Text: Valdemar Rørdam

Print (PR 81)

Dating: [1917]
Other versions: 111 (voice, pf.), 361 (unison song)

The printed vocal score (A) has been elected as copy
text.

SourcesA

Draft (MS 33 2220)

B

Text (361)393 Hymne til Livet (“Himmelkraftens Herre”)
SSAA, Boys’ choir
Text: Sophus Michaëlis
Dating: 31.10.1921

The draft without text (A) has been elected as copy
text for this version; the text, however, has been
added in accordance with the unison song (B).

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 520

SourcesA

Print (PR 82)

B

Fair copy, autograph (MS Ext. 31)

520

22/02/09 8:32:46

The printed vocal score (A), based on the manuscript

Bar

Part

copy (B), has been elected as copy text for both text
and music, and collated with the fair copy.
Bar

Part

4

S2 A

Comment
stanzas 2-3 added as in A p.15
see German text p. 311
superﬂuous calando omitted,
notated as tempo marking

Comment
stanzas 1-3 added in accordancewith C
Roligt men ikke for langsomt addedin accordance with C

396 “Jeg har baaret Lærkens Vinge”
SA
Text: Michael Rosing
Dating: [1926/1927]

394 “Der er et yndigt Land”
SSAA

Sources

Text: Adam Oehlenschläger

A

Fair copy, autograph (MS 33 2124)

Dating: 20.6.1924

B

Sketch (MS 33 2164)

Other versions: 262 (pf.), 291 (voice, orch.), 307

C

Text, Folkehøjskolens Sangbog, Odense 1926, elev-(SATTB), 308 (SATB), 329 (TTBB), 334 (SSA)

enth edition

Sources

The fair copy (A) has been elected as copy text, andA

Fair copy without text, autograph (MS 32 3051)

the text has been revised in accordance with Folke-

B

Text (262)højskolens Sangbog (C).

The fair copy (A) has been elected as copy text for this

Bar

Part

version; the text, however, has been added in accord-Comment
stanzas 2-4 added in accordancewith Cance with the printed edition for pf. (262).
Bar

Part

Comment
Varmt og frejdigt added in accordance with B
stanzas 1-3 added in accordancewith B395 “Tyst som Aa i Engen rinder”
SA
Text: Helge Rode
Dating: [1924]
Other versions: 184 (voice, pf.), 256 (pf.), 355 (SSA)

397 “Jeg kører frem gennem Straalefryd”
SA
Text: Bjørnstjerne Bjørnson
Dating: [1926/1927]
Other versions: 263 (pf.), 412 (unison song)
SourcesA

Fair copy, autograph (MS 33 2125)

B

Text (412)

The fair copy (A) has been elected as copy text for thisversion, and the text has been revised in accordanceSourceswith the unison song (B).

A

Draft (MS 33 2036)

B

Draft, voice, unacc. (MS 32 3082)

C

Text (355)

The draft (A) has been elected as copy text for this

Bar

Part

6
14

A

version. The text has been revised in accordance with

Comment
stanzas 2-10 added in accordancewith Bnote 5: added by analogy with S
skøndt emended to skønt in accordance with B

the printed edition for SSA (C).

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 521

521

22/02/09 8:32:46

398 “Nu ruger paa Reden i Fjer og Straa”

SourcesSA

A

Fair copy, autograph (MS 33 2033)

Text: Ludvig Holstein

B

Draft without text (MS 33 2032)

Dating: [1926/1927]

C

Text (285)

Other versions: 273 (pf.)
As regards the music, the fair copy (A), based on the
Sources

draft (B), has been elected as copy text; the text, how-A

Fair copy, autograph (MS 33 2163)

ever, has been added in accordance with the printed

B

Sketch and draft (MS 33 2164)

edition for pf. (C). The draft (B) has been collatedC

Text, Dansk Sangbog, ed. Johan Borup, Copenha-

with the fair copy (A).

gen 1926, second changed and expanded edition
Bar

Part

1
12

A
A

Comment
stanzas 2-6 added in accordancewith C
B: D major; above b.1: 1 Tone op (E)added (CN)
A: note 6: a changed to b
rest 1 added by analogy with
S1, S2

The fair copy (A), based on the sketch and draft (B), hasbeen elected as copy text for the present edition. The
text has been revised according to Dansk Sangbog (C).
Bar

Part

Comment
stanzas 2-3 added in accordancewith C399 “Danmark, nu blunder den lyse Nat”

B I D R A GSA‘ N Y E

Text: Thøger Larsen

J O H A N

T I L

M E L O D I E R
B O R U P S

T I L
S A N G B O G ’

Dating: [1930]
Other versions: 285 (pf.), 400 (SSA)

Nye Melodier til Johan Borups Dansk Sangbog of 1926
(PR 83), based on an unknown printing manuscript

Sourceswhich has been drafted using the available fair cop-

A

Draft without text (MS 33 2046)

ies and drafts (401-416), has been elected as copy text

B

Text: (285)(A). All manuscripts have been consulted; however,the very few revisions have been based on the copy

As regards the music, the draft (A) has been elected

text itself, using internal arguments. The text has

as copy text. The text, however, has been added inbeen added and revised as in Dansk Sangbog ed. Johan

accordance with the printed edition for pf. (B).

Borup, Copenhagen 1926, second changed and expanded edition.

Bar

8

Part

S

Comment
stanzas 1-3 added in accordancewith Bnote 2:  emended to  in accordance with A

401 “Morgenhanen atter gol”
unison song
Text: N.F.S. Grundtvig
Dating: 30.6.1926

400 “Danmark, nu blunder den lyse Nat”

Other versions: 279 (pf.)

SSA
Text: Thøger Larsen

Sources

Dating: 10.9.30

A

Print (PR 83)

Other versions: 285 (pf.), 399 (SA)B

Draft without text (MS 33 2158)

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 522

522

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C

Text, Dansk Sangbog, ed. Johan Borup, Copenha-

Sourcesgen 1926, second changed and expanded edition

AB

402 Foraarssang (“Vaaren, Vaaren er i Brud”)

Print (PR 83)
Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1926, second changed and expanded edition

unison song
Text: Latin text by Morten Børup; Danish transla-

406 “Undrer mig paa, hvad jeg faar at se”

tion: Marinus Børup

unison song

Dating: 15.5.1926

Text: Bjørnstjerne Bjørnson

Other versions: 313 (SATB)

Dating: [1926]

Sources

SourcesA

Print (PR 83)

A

Print (PR 83)

B

Text, Dansk Sangbog, ed. Johan Borup, Copenha-

B

Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1926, second changed and expanded edition

gen 1926, second changed and expanded edition

407 “Spurven sidder stum bag Kvist”

403 “Grøn er Vaarens Hæk”
unison songunison song

Text: Poul Martin Møller

Text: Jeppe Aakjær

Dating: [1926]

Dating: [1926]

Other versions: 188 (voice, pf.), 348 (SSA)

Other versions: 185 (voice, pf.), 370 (SSA)

Sources

SourcesA

Print (PR 83)

A

B

Draft (MS 32 3082)

B

C

Text, Dansk Sangbog, ed. Johan Borup, Copenha-

Print (PR 83)
Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1926, second changed and expanded edition

gen 1926, second changed and expanded edition
404 “Ind under Jul, hvor er det trist”
unison song

Bar
16

Part

Comment
Ar-men emended to Ar-nen as in B

408 “I kølende Skygger”

Text: Jonas Lie

unison song

Dating: 3.7.1926

Text: Johannes Ewald

Other versions: 280 (pf.)

Dating: 8.5.1926
Other versions: 266 (voice, pf.), 281 (pf.)

SourcesA

Print (PR 83)

B

Draft (MS 33 2137)

C

Text, Dansk Sangbog, ed. Johan Borup, Copenha-

Sourcesgen 1926, second changed and expanded edition
405 “Nu spinder vi for Dittemor”
unison song
Text: Martin Andersen NexøA

Print (PR 83)

B

Text, Dansk Sangbog, ed. Johan Borup, Copenha-

C

Draft without text, typewritten text (MS 33 2116)

gen 1926, second changed and expanded edition

Bar
12

Part

Comment
 emended to 

Dating: 11.5.1926

Carl Nielsen Udgaven CN 00051

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409 “En Sømand med et modigt Bryst”

Cunison song

Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1926, second changed and expanded edition

Text: Johannes Ewald
Dating: 23.5.1926

413 “Dannebrog, vift med din Vinge”
unison song

Sources

Text: Steen Steensen Blicher

A

Print (PR 83)

Dating: 8.7.1926

Text, Dansk Sangbog, ed. Johan Borup, Copenha-

Other versions: 282 (pf.)

B

gen 1926, second changed and expanded edition
Sources
410 “Den gamle Husmand staar ved Gavl”

A

Print (PR 83)

unison song

B

Draft without text, pf. (MS 33 2136)

Text: Johan Skjoldborg

C

Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1926, second changed and expanded edition

Dating: 19.5.1926
Other versions: 264 (pf.)

414 “Jeg er saa glad i Grunden”
Sources

unison song

A

Print (PR 83)

Text: Bjørnstjerne Bjørnson

B

Draft without text, pf. (MS 33 2126)

Dating: 18.5.1926

C

Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1926, second changed and expanded edition

SourcesA
B

411 “Hver har sit, du har dit”

Print (PR 83)
Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1926, second changed and expanded edition

unison song
Text: L.C. Nielsen

415 “Den Magt, som gav mig min lille Sang”

Dating: 17.5.1926

unison song

Other versions: 265 (pf.)

Text: Bjørnstjerne Bjørnson
Dating: 10.5.1926

SourcesA

Print (PR 83)

B

Draft without text, pf. (MS 33 2126)

SourcesC

Text, Dansk Sangbog, ed. Johan Borup, Copenha-A

Print (PR 83)

gen 1926, second changed and expanded edition

B

Draft without text, typewritten text
(MS 33 2039)

412 “Jeg kører frem gennem Straalefryd”

C

Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1926, second changed and expanded edition

unison song
Text: Bjørnstjerne Bjørnson

416 “Har I nu Tænder i Riven sat”

Dating: 20.5.1926

unison song

Other versions: 263 (pf.), 397 (SA)Text: Jeppe Aakjær
Sources

Dating: 8.5.1926

A

Print (PR 83)

Other versions: 283 (pf.)

B

Draft without text, pf. (MS 33 2126)

Carl Nielsen Udgaven CN 00051

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524

22/02/09 8:32:47

Sources

The ﬁrst printed edition of 1911 (reprinted in a ﬁfth,Asixth and seventh edition) has been elected as copy text.

Print (PR 83)

B

Sketch without text, typewritten text (MS 33 2096)

C

Text, Dansk Sangbog, ed. Johan Borup, Copenha-

420 “Guds Fred er mer end Englevagt”

gen 1926, second changed and expanded edition

unison song
Text: N.F.S. Grundtvig
Dating: [1919]

S E PA R A T E

S O N G S
Sources

417 Vuggevise (“Sov min lille, min dejlige Dreng”)
unison song

A

Sketch (MS 33 2059)

B

Text (56)

Text: Carl Nielsen?
Dating: [1880?]

The sketch (A) has been elected as copy text for themusic; the text, however, has been added in accord-

SourcesA

ance with 56 (B).

Draft (MS 32 4052)
Bar

Part

The draft (A) which is the only existing source has
been elected as copy text.
Bar

Part

Comment
lower staff omitted; A: written on
2 staves with lower staff with bass
clef but empty

8421 “Og jeg vil drage fra Sydens Blommer”
unison song
Text: Holger Drachmann

418 “Vi frie Folk fra Norden”

Dating: [1914]

unison song

Other versions: 239 (pf.)

Text: Valdemar Rørdam
Dating: [1908]

SourcesA

SourcesA

Print (PR 841)

B

2

Comment
lower staff omitted; A: written on
2 staves with lower staff empty
stanzas 1-7: added in accordancewith B
A: note 2:  ( f' ) changed to  

BPrint (PR 861)
Text, Dansk Sangbog, ed. Johan Borup, Copenhagen 1914

Print (PR 84 )The ﬁrst printed edition of 1909 (A), collated with theedition of 1912 (B), has been elected as copy text.
419 Student-Tanker i en Gymnastiksal (“Ovnekrog, Lærebog”)

The ﬁrst printed edition (A) has been elected as copy
text for the music; the text, however, has been added
as in Dansk Sangbog, 1914 (B)Stanza Line
3
6

Text: Ernesto Dalgas

Comment
Vinden emended to Vinter in accordance with 239

Dating: [1911]
SourcesA

Print (PR 85)

Carl Nielsen Udgaven CN 00051

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22/02/09 8:32:47

422 “Vaaren, Vaaren er i Brud!”A P P E N D I X

unison song
Text: original Latin text by Morten Børup; Danish

424 Solnedgang (“Svømmende Skyer, dejlige Cyklader”)

translation: Marinus Børup

voice, pf.

Dating: [1921]

Text: J.P. Jacobsen
Dating: 25.05.1893

SourcesA

Print (PR 87)

SourcesB

Text (402)A

Draft, bb. 1-10 (MS 33 2004)

B

Draft, bb. 11-19 (MS 33 2202)

C

Text (1)The printed version in Arosia of 1921 (A) has been
elected as copy text for the music; the text, however,has been added in accordance with 402 (B).

The only source for this song is a pencil draft (A, B;
see facsimiles pp. 177-178) with sporadic text under-

Bar

Part

Comment
above top staff: Aarhus Skoles Sang.
Carmen Vernale. ‘The Song of the
School of Aarhus. Carmen vernale’
omittedLatin text omitted, see p. 311
stanzas 2-3: added in accordancewith Blay to the ﬁrst stanza; hence the text has been addedin accordance with 1 (another song, but same text).
Bar
3
19
20

Part

Comment
repeat sign added
repeat sign added
bar added

425 “Stille, Guds Folk, o bøj dig ned”

423 “Velkommen Lærkelil”
unison song

pf. SATB

Text: Christian Richardt

Text: based on the Greek St Jacob’s liturgy,

Dating: 23.12.28

fourth century; freely by I.A. 1908
Dating: [ca. 1914]

SourcesA

Draft without text (MS 33 2236)

Sources

B

Manuscript copy and text (MS 32 3029)

A

Draft without text (MS 33 2209)

The draft without text (A) has been elected as copy

Only a single, ambiguous pencil draft without text

text; however, the text, however, has been added into this hymn melody has been available; hence theaccordance with the manuscript copy (B).

present edition represents a reading of this source(see facsimile, CNU III/6, p. 686). The text has been

Bar

Part

16

Comment
stanzas 1-3: added in accordancewith B
emended to

added in accordance with a handwritten text folio
placed in MS 33 2209.
426 “O Du Guds Lam! Med Korsets Skam”
pf. SATB
Text: N.F.S. Grundtvig
Dating: [ca. 1914]

Carl Nielsen Udgaven CN 00051

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22/02/09 8:32:48

Sources

Title emended from Impromtu to Impromptu

A

Sketch (MS 33 2167)

See facsimile, CNU III/6, p. 691.

B

Printed text, Psalmebog for Kirke og Hjem, Copenhagen 1911, pp. 225-226 (No. 218)

429 “En svunden Dag”
voice, pf.

This hymn melody has only been available as a pencil

Text: J.P. Jacobsen

draft in an incomplete harmonisation with fragmen-

Dating: 26.02.1890

tary text underlay (see facsimile, CNU III/6, p. 687).
The text has been added in accordance with B.

Sources
A

Bar
+1-2

Part

Comment
A: b.+1 to b.2 note 3: notated as
unison and unis.

See facsimile, CNU III/6, p. 692.
430 “Disse djærve Hammerslag”

427 “Underlige Aftenlufte!”

unison song

voice, pf.

Text: Holger Drachmann

Text: Adam Oehlenschläger

Dating: [1894]

Dating: 14.12.1914

Sources

SourcesA
B

Fair copy (MS Ext. 33)

Draft (MS 33 2104)
Text (90)A

Sketch (MS 32 4042)

B

Printed text, Holger Drachmann, Vølund Smed
Melodrama, Copenhagen 1894, pp. 35-37

The only musical source to this song is a pencil draftwith an incomplete piano accompaniment and asporadic text underlay of the ﬁrst stanza (A; see facsimile, pp. 156-157); hence the text has been added inaccordance with 90 (another song, but same text).

This song has only been available as a unison roughdraft with fragmentary text (see facsimile, CNU
III/6, p. 693). Apparently Nielsen only had the ﬁrst
stanza of Drachmann’s poem in mind while sketching the song, since the metre in the second stanza

Bar
2
22
23

Part

Comment
repeat sign added
repeat sign added
bar added

428 Impromptu (“De skal rejse og vi er bedrøvede”)
unison song

differs from the ﬁrst, and the third stanza has twolines more than the other stanzas. The text has been
added in accordance with the ﬁrst printed edition ofHolger Drachmann’s melodrama.
431 “Der er i Amsterdam”
unison song

Text: Carl Nielsen

Text: Carl Nielsen?

Dating: [1887-1889]

Dating: 13.05.1920

SourcesA

Sources

Fair copy (MS Ext. 32)

A

Draft (MS Ext. 34)

See facsimile, CNU III/6, p. 694.

Carl Nielsen Udgaven CN 00051

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AU T H O R

I N D E X

Italic: song titles
Roman: ﬁrst lines and secondary titles
Numbers in bold: song numbers
Regarding translations or re-workings, only originatorof printed texts included in the present volumes havebeen listed.
H.C. Andersen (1805-1875) | Hun mig har glemt! min
Sorg hun ej see! 103 | Højt ligger paa Marken den
hvide Sne 104 | Min lille Fugl, hvor ﬂyver du 102| Solen skinner i Naboens Gaard 238 | Studie efter
Naturen 238 | Traaden brister, Rokken staar 378
Anonymous | Stille, Guds Folk, o bøj dig ned 425
Anonymous Old Danish jest song | Der boede en Mandi Ribe By 109
Vilhelm From Bartrumsen (1881-1967) | Vi er Jyder,
Børn af Landet 274 | Vi Jyder 274
Ove Bauditz (1871-1936) | Christianshavn 241 | Kong
Christian stod paa Slotsholmens Grund 241
Harald Bergstedt (1877-1965) | Jeg ved en Lærkerede
182, 373 | Solen er saa rød, Mor 183, 259, 374
Anton Berntsen (1873-1953) | Den jenn ska studierbådde Græsk å Latin 194 | Den jenn å den anden 194| Hun æ så møj en hwalle Piig 193 | Jens Madsen
wa en Feskermand 192 | Jens Madsen å An-Soﬁ 192| Mi Håsbond wa en piinwon Rad 195 | Wo Dætter
193 | Æ Lastræ 195
Aage Berntsen (1885-1952) | Balladen om Bjørnen, op. 47
251 | De dræbte Bjørnens Unger 251 | Endskønt
jeg ganske sikkert ved 322 | Kvadet om Nordens
Harpe 332 | Nordens herlige Harpe! 332 | Til
Snapsen i ‘Bel Canto’ 322
Steen Bille (1565-1629) | Jeg raaber fast, o Herre 64
Vilhelm Birkedal (1809-1892) | Jeg fandt en Trøst 63
Bjørnstjerne Bjørnson (1832-1910) | Den Magt som gav
mig min lille Sang 415 | Der går et stille tog 277 |Fremtidens Land! 278 | Jeg er saa glad i Grunden
414 | Jeg kører frem gennem Straalefryd 263, 397,
412 | Sangen har lysning 179, 197 | Undrer mig
paa, hvad jeg faar at se 406
Steen Steensen Blicher (1782-1848) | Dannebrog, vift
med din Vinge 282, 413 | De Refsnæsdrenge, deSamsøepiger 87, 173 | Kær est du, Fødeland, sødt
er dit Navn 254, 343 | Om strømmen mod dig
bruser 211 | Ud gaar du nu paa Livets Vej 88, 212,
372
C.J. Boye (1791-1853) | Dybt hælder Aaret i sin Gang 48

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CNU_III_7_indmad.indb 528

C.J. Brandt (1817-1889) | Nu Sol i Øst oprinder mild 71,
353
Hans Adolph Brorson (1694-1764) | Ak, min Rose visnerbort 38 | Den store, hvide Flok vi se 41 | Det
koster ej for megen Strid 45 | Drag, Jesus, mig dog
efter dig 47 | Frisk op! endnu en Gang 53 | Gudskal al Ting mage 57 | O, havde jeg dog tusind
Tunger 72 | O Helligaand! mit Hjerte 73 | Op al
den Ting, som Gud har gjort 76 | Op, I Kristne,ruster eder! 77
Johan Brydegaard (1866-1943) | Du frie, danske Tunge
247
Emil Bønnelycke (1893-1953) | Hjemlige Jul, straaler Du
nu! 250
Marinus Børup (1891-1959) | Vaaren – Vaaren er i
Brudd! 313, 402, 422
Caralis se Christian Preetzmann
Christian Dabelsteen (1861-1927) | Naar Smaabørn
klynker ved Aftentide 187, 260, 376
Ernesto Dalgas (1871-1899) | Ovnekrog, Lærebog 419 |Student-Tanker i en Gymnastiksal 419
Johannes Dam (1866-1926) | Barnets Sang 236, 389 |Kom, i Dag maa alle synge 236, 389
Mads Damm | Den Spillemand spiller paa Strenge 186,
292, 375
Holger Drachmann (1846-1908) | Dansevise 19 | Dissedjærve Hammerslag 430 | Du danske mand!
af al din magt 167, 224, 300, 320, 339, 391 |Fædrelandssang 167, 224, 300, 320, 339, 391 |Helleliden aksler sin Kofte graa 17 | Hellelidens
Sang 17 | Hr. Oluf der bredes dig Dug paa Disk 19| Hr. Olufs Sang 18 | Og jeg vil drage fra Sydens
Blommer 239, 421 | Vegen er Dagen 18 | Vindener så føjelig 208
Karl Elnegaard (1871-1951) | Paa Sjølunds fagre,
sommerskønne Ø 311 | Sjølunds Sangere 311
Johannes Ewald (1743-1781) | En Sømand med etmodigt Bryst 409 | I kølende Skygger 266, 281,
408
Peter Faber (1810-1877) | Lad en og anden have Ret 252,
336
Mogens Falck (1879-1950) | Himlen mørkner stor og
stum 249 | Julesang 249

528

22/02/09 8:32:48

Hans Egede Glahn (1814-1898) | Dig vil jeg elske, dumin Styrke 46
N.F.S. Grundtvig (1783-1872) | Alt paa den vilde Hede39, 232 | Apostlene sad i Jerusalem 271 | Desnækker mødtes i kvæld på hav 135, 160, 357 |Denne er Dagen, som Herren har gjort! 40 | Der er
en Bøn paa Jorden 42 | Der er en Vej, som Verden
ikke kender 43 | Der sad en ﬁsker så tankefuld
131, 159 | Det er et Under paa Verdens Ø 44 |Est du modfalden, kære Ven 234 | Et helligt Liv,
en salig Død 49 | Forunderligt at sige 50 | Fred
med dig! og Fred med eder! 51 | Fred og Glæde,for dem græde 52 | Guds Engle i Flok! 55 | Guds
Fred er mer end Englevagt 56, 420 | Har Haanddu lagt paa Herrens Plov 58 | Har nogen Lyst at
kende 59 | Herren siger: Er I trætte 60 | Herrens
Røst var over Vandet! 61 | Hil dig vor Fane! 328 |Hvi vil du dig saá klage 62 | Jeg gik i marken og
vogtede får 270 | Jeg ved et lille Himmerig 65 |Korsets Tegn og Korsets Ord 66 | Luk Øjne op, al
Kristenhed! 67 | Maria sad paa Hø og Straa 68 |Min Jesus, lad mit Hjerte faa 69 | Morgenhanen
atter gol 279, 401 | Nu skal det åbenbares 181,200 | Når nat udvælder fra sorten sky 144, 158 |O, du Guds Lam! med Korsets Skam 426 | O hør os,
Herre, for din Død! 74 | O Kristelighed! 75 | Paaalle dine Veje 79 | Påskeblomst! En dråbe stærk
146, 229, 324 | Påske-Liljen 146, 229, 324 | Sol er
oppe! Skovens Toppe 356 | Som Dug paa slagne
Enge 235 | Syndﬂoden 144, 158 | Ton det, Himmel,
syng det, Jord 81 | Udrundne er de gamle dage
116, 140, 147, 312, 359 | Under Korset stod med
Smerte 83 | Utallige Blomster paa Jorderig gro 84| Verdens Børn har mangt et Sted 85 | Vor Herre,
han er en Konge stor 86
Jónas Gudlaugsson (1887-1916) | Kan I mærke, detlysner af solskin i sindet 206
Knut Hamsun (1859-1952) | Vi nævner et navn 202
Mads Hansen (1834-1880) | Der er en gammel rønne
210
Olaf Hansen (1870-1932) | Skummende laa Havet 293
Carsten Hauch (1790-1872) | Aftenstemning 321 | Alt
Skoven sig fordunkler 321 | Morgendug, der sagtebæver 128, 162, 337 | Naturens ædle dyrker 136,
152 | Vender sig Lykken fra dig 92, 168
Kai Hoffmann (1874-1949) | Den danske Sang er enung, blond Pige 191, 330
Ludvig Holberg (1684-1754) | Ikke det altid slaar til 380| Vægter jeg beder, hold op med i Sang 379
Anders W. Holm (1878-1959) | Fredlys din Jord, Du
danske Mand! 233, 326

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Ludvig Holstein (1864-1943) | Blomstervise 240 |Danmarks Sommer gik sin Gang 240 | Den dovne
Fjord som gynger 16 | Der stod en Engel hos
mig 34 | Det gyldenhvide Himmellys 15 | Du
ﬁne hvide Æbleblomst! 11 | Erindringens Sø 12 |Fuglefængervise 33 | Fyldt med Blomster blusserÆbletræets Gren 13 | Glenten styrter fra Fjældets
Kam 35 | Hilsen 16 | I Aften 15 | I Skoven vipper
de Fugle smaa 33 | I Solen gaar jeg bag min Plov14, 213 | Jægersangen 35 | Nu ruger paa Reden i
Fjer og Straa 273, 398 | Sang bag Ploven 14, 213 |Sommersang 13 | Toves Sang 34 | Træd stille, min
Veninde 12 | Vi Sletternes Sønner har Drømme i
Sind 32, 204 | Æbleblomst 11
Jens Christian Hostrup (1818-1892) | De unges Sang 155,
227, 323, 360 | Den trænger ud til hvert et sted269 | Dér, hvor vi stred og sang 133, 154 | Det vi
véd, at siden slangens gift 261 | Hvad synger duom så højt i det blå? 180, 198 | Når somrens sanger sungen 134, 153, 368 | Vi ﬁk ej under tidernes
tryk 155, 227, 323, 360
B.S. Ingemann (1789-1862) | Danevang med grønne
bred 199, 333 | Den store mester kommer! 115,
130, 145 | Der strømmer en Flod mod det evige
Hav 272 | Græshoppen 383 | Græshoppen sidder
paa Engen 383 | Guldﬂoden 272 | Jeg så kun
tilbage 127, 150 | Tidt er jeg glad, og vil dog
gerne græde 101
J.P. Jacobsen (1847-1885) | Alle de voksende Skygger
220 | Det bødes der for i lange Aar 9, 317 | Det
er herligt at leve i Drømmenes Land 222 | Det
har Seraferne: Seraferne har rullet bort de klare
Stjerner 7 | En svunden Dag 429 | Før drømte jeg
fast hver eneste Nat (melodi a) 3 | Før drømte jeg
fast hver eneste Nat (melodi b) 318 | Genrebillede
6 | Har Dagen sanket al sin Sorg 5 | Havde jeg, ohavde jeg en Dattersøn, o ja! 10 | I Drømmenes Land222 | I Seraillets Have 2 | Irmelin Rose 4 | Pagen højt
paa Taarnet sad 6 | Rosen sænker sit Hoved tungt
af Dug og Duft 2 | Se, der var en Gang en Konge
4 | Seraferne 7 | Silkesko over gylden Læst! 8 |Solnedgang (melodi a) 1 | Solnedgang (melodi b) 424| Svømmende Skyer, dejlige Cyclader (melodi a) 1 |Svømmende Skyer, dejlige Cyclader (melodi b) 424| Til Asali (melodi a) 3 | Til Asali (melodi b) 318 |Vise af ‘Mogens’ 10
Johannes V. Jensen (1873-1950) | Gi Husly til to
Persowner 25 | Godnat 26 | Husvild 25 | No wil a
sej Jer Godnæt 26
Jobs bog | Du skal le ad Ødelæggelse 381

529

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Axel Juel (1883-1948) | Danmark 242, 253, 341 | Vielsker vort blomstrende Fædreland 242, 253, 341
Johannes Jørgensen (1866-1956) | Ak, Julesne fra
Bethlehem 327 | Børnehjælpsdagens Sang 230, 305,
325, 388 | Katholsk Ungdomssang 231 | Nu lyser
løv i lunde 143, 172, 351 | Sænk kun dit Hoved,
du Blomst 23, 290 | Velsignet være du, vor Herre,
Gud 231 | Vi Børn, vi Børn, vi vaagner 230, 305,
325, 388

L.C. Nielsen (1871-1930) | Danmark, du kornblonde
Datter 294 | Er din Stue lav og trang 362 |Fædreland! Fædreland! 27 | Følger hvo som følge
kan! 29 | Havet omkring Danmark 31, 203, 367 |Havets Sang 31, 203, 367 | Hver har sit, du har dit
265, 411 | Ja, tag os, vor Moder 28, 304 | Jeg mødte
en Sang paa den alfare Vej 30 | Vibekes Sang 30
Zakarias Nielsen (1844-1922) | Byg paa Sletten, ej paa
Tinden 257, 364

Thomas Kingo (1634-1703) | Glæden hun er født i Dag
54 | Som den gyldne Sol frembryder 80
Jakob Knudsen (1858-1917) | Tunge, mørke natteskyer
137, 165
H.V. Kaalund (1818-1885) | På det jævne, på det jævne!
125, 156, 363

Adam Oehlenschläger (1779-1850) | Alt Maanen oprejst
staar bag sorte Skove 114 | Betragt mit svage
spind (melodi a) 141, 148 | Betragt mit svage spind(melodi b) 384 | Cithar! lad min Bøn dig røre 112| Der er et yndigt Land 262, 291, 307, 308, 329,
334, 394 | Edderkoppens Sang (melodi a) 141, 148,
Edderkoppens Sang (melodi b) 384 | Halloges Sang 228| Hjemvee (melodi a) 90, 163, 309, 345 | Hjemvee(melodi b) 427 | Hvor sødt i Sommer-Aftenstunden
100 | I Maaneskin titter 289 | I Skyggen vi vanke
89, 176, 288, 350 | Min Hjelm er mig for blank ogtung 228 | Nu er da Vaaren kommen 99 | Naar
Odin vinker 91 | Pigerne inde i Skoven 89, 176, 288,
350 | Underlige Aftenlufte! (melodi a) 90, 163,
309, 345 | Underlige Aftenlufte! (melodi b) 427 |Visselulle nu, Barnlil! 113
Ahrent Otterstrøm (1870-1958) | Vældige Riger rives
om Jorden 258, 366

Otto Lagoni (1882-1949) | I gamle Dage – for overhundred tusind Aar tilbage 287 | Island 287
Thøger Larsen (1875-1928) | Danmark, nu blunder den
lyse Nat 285, 399, 400
Jonas Lie (1833-1908) | Ind under Jul, hvor er det trist
280, 404
Hansigne Lorenzen (1870-1952) | Gry 243 | Mørket
viger, Dagen stiger 243
Sophus Michaëlis (1865-1932) | Af Flamme blev du
avlet 314 | Himmelkraftens Herre 393 | Hymne til
Livet 393 | Sang for femstemmigt blandet Kor ved Dansk
Ligbrændingsforenings Jubilæum den 23de Marts 1931 314
Moldberg-Kjeldsen | Afholdssangen 226 | Frem til
Frihed til Lys og til Lykke 226
Frederik Moth | Frydeligt med jubelkor 207, 347, 387| Morten Børups Majvise 207, 347, 387
Peder Rasmussen Møller (1848-1926) | Mit hjem, hvor
mine fædres fjed 209
Poul Martin Møller (1794-1838) | Farvel, min velsignede
Fødeby! 96, 174, 371 | Grøn er Vaarens Hæk 188,
348, 403 | Rosen blusser alt i Danas Have 94, 164,335 | Sov ind mit søde Nusseben! 95 | Vor Verden
priser jeg tusindfold 93
Martin Andersen Nexø (1869-1954) | Nu spinder vi for
Dittemor 405
Carl Nielsen | De skal rejse og vi er bedrøvede 428 |Impromptu 428 | Stilhed og Mørke 382
Carl Nielsen ? | Bokserne 377 | Der er i Amsterdam 431| Jeg synes om din lette Gang 225 | Sof sött, dulilla Sonja! 245 | Sov min lille, min dejlige Dreng
417 | Ve’ du sla’ mej 377 | Vuggevise 417

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CNU_III_7_indmad.indb 530

Frederik Paludan-Müller (1809-1876) | Aldrig hans Ord
kan jeg glemme! 223 | Gensyn 286 | Hvor blev den
Blomst, som fyldte 286
Hans Hartvig Seedorff Pedersen (1892-1986) | Tanker
skal tændes og skride 275
Niels Pedersen (1601-1634) | Naar jeg betænker Tid og
Stund 70
Carl Ploug (1813-1894) | Hedelærken, den liden fugl
132, 161 | St. St. Blicher 132, 161
Hother Ploug (1856-1932) | Gerne vi lytter, naarStrængene bringer 302 | Serenade 302
Frederik Poulsen (1876-1950) | Hjemstavn 276 | Jeg
vandrer over mine Fædres Jord 276
Christian Preetzmann (1822-1895) | Byd mig at leve315 | I hvor jeg end slaar Øiet hen 316 | I Knøse!
tag, det raader jeg 216 | Længsel 316 | Min Sjæl er
mørk 217 | See! Luften er stille 215 | Serenade 215| Skal vi vandre en Stund 214 | Tag jer iagt for Anna!
216 | Til mit Hjertes Dronning 214
S.P. Raben-Korch (1869-1957) | Blidt vugges du i
Himmelseng 331 | Til min Fødeø 331

530

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Christian Richardt (1831-1892) | Den gamle Skovvei
huer mig vel (melodi a) 219a | Den gamle Skovvei
huer mig vel (melodi b) 219b | Derfor kan vort øjeglædes 126, 151 | Jord, i hvis favn 129, 149 | Lærmig, nattens stjærne 178, 196 | Sov, mit Barn, sovlænge 369 | Velkommen Lærkelil 423
Helge Rode (1870-1937) | Ariels Sang 237 | Dengang
Døden var i Vente 123 | Dengang Ørnen var
ﬂyveklar 119 | Du gav os de Blomster, som lyste
imod os 340 | Min Pige er saa lys som Rav 118, 392| Sangen til Danmark 124, 177, 306, 342 | Selv naar
Tordenen tynger 237 | Skal Blomsterne da visne
20 | Som en rejselysten Flaade 124, 177, 306, 342| Søndret Folk er vokset sammen 358 | Saa bittert
var mit Hjerte 122 | Tidselhøsten tegner godt 121| Tyst som Aa i Engen rinder 184, 256, 355, 395 |Ved Festen ﬁk en Moder Bud 120 | Vildt gaar Storm
mod sorte Vande 117
Ove Rode (1867-1933) | Dansk Vejr 268 | Sus af Vind og
Bølgeslag 268
Alma Rogberg (ca. 1870-1939) | Det är höst 284
Michael Rosing (1830-1904) | Jeg har båret lærkens
vinge 396 | O, hvor jeg er glad i Dag! 190, 255, 352
Valdemar Rørdam (1872-1946) | Danmark, i tusend Aar
111, 361, 390 | En Købmand, han staar bøjet 110 |Føden og Klæden, Baaden og Teltet 246 | Hymne til
Danmark 111, 361, 390 | Købmands-Vise 110 | Sang
for Dansk Arbejde 246 | Vi fri Folk fra Norden 365,
418
Salmernes bog | Afﬂictus sum 297 | Benedictus,
benedictus Dominus 299 | Dominus regit me 298
Johan Skjoldborg (1861-1936) | Den gamle Husmand
staar ved Gavl 264, 410
Ambrosius Stub (1705-1758) | Den kedsom Vinter gik
sin Gang 346 | Uforsagt, hvordan min Lykke 82

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CNU_III_7_indmad.indb 531

Viggo Stuckenberg (1863-1905) | Blomsterstøv fra
Blomsterbæger 295 | Nu er for stakket Tid forbi
296 | Nu springer Vaaren fra sin Seng 105, 171
Thomas af Strängnæs (-1443) | Frihed er det bedste
guld 142, 157
Albert Thura (1700-1740) | Kom blankeste Sol! 319, 385,
386
J.S. Welhaven (1807-1873) | Tilfjelds over Bygden staar
min Hu 218 | Vejviseren synger 218
Marie Wexelsen (1832-1911) | O, sad jeg, som Maria sad
78
Johannes Wiberg (1894-19??) | Julesang 248 | Kom, Jul,til Jord, kom høje Gæst 248
Christian Winther (1796-1876) | Jeg lægger mig saa
trygt til Ro 189, 354
Jeppe Aakjær (1866-1930) | Den første Lærke 24 | Der
dukker af Disen min Fædrenejord 107, 205, 344 |Der staar en Purle ved Vejens Sving 36 | Det danske
Brød paa Sletten gror 139, 244 | Gamle Anders Røgters
Sang 36 | Har I nu Tænder i Riven sat 283, 416 |Hvem sidder der bag Skjærmen 22, 201 | Høgen 21| Hør, hvor let dens Vinger smækker 108 | Jeg bærer
med Smil min Byrde 97, 166, 310 | Jens Vejmand
22, 201 | Kommer I snart, I Husmænd! 37 | Nu er
Dagen fuld af Sang 98, 170, 349 | Raabet stiger iMorg’nens Skær 37 | Se dig ud en Sommerdag 106,
175, 338 | Som dybest Brønd gir altid klarest Vand
138, 169 | Spurven sidder stum bag Kvist 185, 370,
407 | Vær hilset Høg over Granetop 21
Emil Aarestrup (1800-1856) | Angst 221 | Du er, min
Tro, en underlig Pog 301 | Hold fastere omkringmig 221 | Kom, Gudsengel, stille Død 303 |Sidskensang 301

531

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T I T L E

I N D E X

Capital letters: title of collections
Italic: song titles
Roman: ﬁrst lines and secondary titles
Numbers: page numbers in the preface
Numbers in bold: song numbers
60 danske Kanoner ➤ BIDRAG TIL ‘60 DANSKE KANONER’Af Flamme blev du avlet ➤ Sang for femstemmigt blandet
Kor ved Dansk Ligbrændingsforenings Jubilæum den 23deMarts 1931
Afﬂictus sum | ATTB 297 | 20, 119
Afholdssangen | pf. 226 | 80-81
Aftenstemning | TTBB 321 | 128
Ak, Julesne fra Bethlehem | S solo, TTBB 327 | 130
Ak, min Rose visner bort | pf. 38
Aladdin ➤ TRE SANGE FRA ADAM OEHLENSCHLÄGERSSKUESPIL ‘ALADDIN ELLER DEN FORUNDERLIGE
LAMPE’, op. 34
Aldrig hans Ord kan jeg glemme! | voice, pf. 223 | 77,
110
Alle de voksende Skygger | voice, pf. 220 | 17, 23, 76
Alt Maanen oprejst staar bag sorte Skove | voice,pf. 114 | 38
Alt paa den vilde Hede | pf. 39 | voice, pf. 232 | 85-86
Alt Skoven sig fordunkler ➤ Aftenstemning
Angst | voice, pf. 221 | 17, 76-77
Apostlene sad i Jerusalem | pf. 271 | 104
Ariels Sang | voice, pf. 237 | 18, 40, 88
Balladen om Bjørnen, op. 47 | voice, pf. 251 | 94-95
Barnets Sang ➤ Kom, i Dag maa alle synge
Benedictus, benedictus Dominus | SSATB 299 | 119-120
Betragt mit svage spind (melodi a) | pf. 141, 148 | 65
Betragt mit svage spind (melodi b) | SSA 384 | 138
BIDRAG TIL ‘60 DANSKE KANONER’ 377-382 | 132, 137
BIDRAG TIL ‘EN SNES DANSKE VISER 1915’ 87-98 | 18,
20, 40, 42, 50-63, 65, 67, 89, 101, 112, 125, 144, 147-148
BIDRAG TIL ‘EN SNES DANSKE VISER 1917’ 99-109 | 18,
20, 40, 42, 50-63, 65, 67, 89, 101, 112, 125, 144, 147-148
BIDRAG TIL ‘FOLKEHØJSKOLENS MELODIBOG’ 145-177| 18, 21, 30, 35-37, 39-40, 50, 52, 56, 65-71, 79, 83-84,
91, 97, 104, 110, 124-125, 129
BIDRAG TIL ‘MELODIER TIL SANGBOGEN DANMARK’
333-376 | 21, 39-40, 64, 71, 79, 83, 92, 94, 96, 99,
113, 124-125, 132-139

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BIDRAG TIL ‘NYE MELODIER TIL JOHAN BORUPS SANGBOG’ 401-416 | 19, 21, 50, 53-55, 64, 101-102, 107,
126, 144-148
BIDRAG TIL ‘TILLÆG TIL FOLKEHØJSKOLENS MELODIBOG’ 196-213 | 18, 30, 35-37, 65-71
Blidt vugges du i Himmelseng ➤ Til min Fødeø
Blomsterstøv fra Blomsterbæger | SATB 295 | 115-116
Blomstervise | voice, pf. 240 | 90
Bokserne | three-part canon 377 | 137
Byd mig at leve | TTBB 315 | 75, 127
Byg paa Sletten, ej paa Tinden | pf. 257 | SA 364 | 96
Børnehjælpsdagens Sang ➤ Vi Børn, vi Børn, vi vaagner
Christianshavn | pf. 241 | 90
Cithar! lad min Bøn dig røre | voice, pf. 112 | 38
Danevang med grønne bred | pf. 199
Danmark ➤ Vi elsker vort blomstrende Fædreland
Danmark, du kornblonde Datter | SATB 294 | 114-115
Danmark, i tusend Aar | voice, pf. 111 | unisonsong 361 | SA 390 | 40, 138, 141
Danmark, nu blunder den lyse Nat | pf. 285 | SA 399 |SSA 400 | 109, 138, 144
Danmarks Sommer gik sin Gang ➤ Blomstervise
Dannebrog, vift med din Vinge | pf. 282 | unisonsong 413 | 107, 147
Dannevang med grønne Bred | SA 333 | 68, 70, 94
Dansevise | voice, pf. 19 | 34
Dansk Vejr | pf. 268 | 103
Danske Smaasange ➤ TI DANSKE SMAASANGE
De dræbte Bjørnens Unger ➤ Balladen om Bjørnen, op. 47
De Refsnæsdrenge, de Samsøepiger | voice, pf. 87 |pf. 173 | 20, 53, 57
De skal rejse og vi er bedrøvede ➤ Impromptu
De snækker mødtes i kvæld på hav | pf. 135, 160 |SSA 357 | 64
De unges sang ➤ Vi ﬁk ej under Tidernes Tryk
Den danske Sang er en ung, blond Pige | pf. 191 |TTBB 330 | 71, 130, 147
Den dovne Fjord som gynger ➤ Hilsen
Den første Lærke | voice, pf. 24 | 30, 32
Den gamle Husmand staar ved Gavl | pf. 264 | unisonsong 410 | 101, 147-148
Den gamle Skovvei huer mig vel (melodi a) | voice,pf. 219a | 17, 76532

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Den gamle Skovvei huer mig vel (melodi b) | voice,pf. 219b | 17, 76
Den jenn ska studier bådde Græsk å Latin ➤ Den jenn å
den anden
Den jenn å den anden | voice, pf. 194 | 72-73
Den kedsom Vinter gik sin Gang | SSA 346
Den Magt som gav mig min lille Sang | unisonsong 415 | 147
Den Spillemand spiller paa Strenge | voice, pf. 186 |voice, 3 vl. 292 | SA 375 | 113
Den store, hvide Flok vi se | pf. 41
Den store mester kommer! | pf. 115, 130, 145 | 48, 64
Den trænger ud til hvert et sted | pf. 269 | 103
Dengang Døden var i Vente | voice, pf. 123
Dengang Ørnen var ﬂyveklar | voice, pf. 119
Denne er Dagen, som Herren har gjort! | pf. 40 | 48
Der boede en Mand i Ribe By | voice, pf. 109 | 20
Der dukker af Disen min Fædrenejord | voice, pf. 107 |pf. 205 | SA 344 | 12, 53-54, 70
Der er en Bøn paa Jorden | pf. 42
Der er en gammel rønne | pf. 210 | 70
Der er en Vej, som Verden ikke kender | pf. 43 | 41
Der er et yndigt Land | pf. 262 | voice, orch. 291 |SATTB 307 | SATB 308 | TTBB 329 | SSA 334 |SSAA 394 | 11, 97-100, 112, 124, 130, 136, 138, 143
Der er i Amsterdam | unison song 431 | 151
Der går et stille tog | pf. 277 | 106-107
Dér, hvor vi stred og sang | pf. 133, 154 | 20, 64
Der sad en ﬁsker så tankefuld | pf. 131, 159 | 20, 64
Der stod en Engel hos mig ➤ Toves Sang
Der strømmer en Flod mod det evige Hav ➤ Guldﬂoden
Der staar en Purle ved Vejens Sving ➤ Gamle Anders
Røgters Sang
Derfor kan vort øje glædes | voice, pf. 126 | pf. 151 |20, 64Det bødes der for i lange Aar | voice, pf. 9 | TTBB 317| 27-28, 127-128
Det danske Brød paa Sletten gror | voice, pf. 139 |pf. 244 | 20, 65, 91
Det er et Under paa Verdens Ø | pf. 44
Det er herligt at leve i Drømmenes Land ➤ I DrømmenesLand
Det gyldenhvide Himmellys ➤ I Aften
Det har Seraferne: Seraferne har rullet bort de klare
Stjerner ➤ Seraferne
Det koster ej for megen Strid | pf. 45
Det vi véd, at siden slangens gift | pf. 261 | 96
Det är höst | voice, pf. 284 | 107-109

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CNU_III_7_indmad.indb 533

Dig vil jeg elske, du min Styrke | pf. 46
Disse djærve Hammerslag | unison song 430 | 151
Dominus regit me | SATB 298 | 119-120, 122Drag, Jesus, mig dog efter dig | pf. 47
Du danske mand! af al din magt | pf. 167 | voice,pf. 224 | SATB 300 | TTBB 320 | SA 339 |SSA 391 | 11, 20, 77-80, 84, 112, 123, 128, 138, 141
Du er, min Tro, en underlig Pog ➤ Sidskensang
Du ﬁne hvide Æbleblomst! ➤ Æbleblomst
Du frie, danske Tunge | pf. 247 | 92-93, 149
Du gav os de Blomster, som lyste imod os | SSA 340
Du skal le ad Ødelæggelse | two-part canon 381 | 137
Dybt hælder Aaret i sin Gang | pf. 48
Edderkoppens Sang af ‘Aladdin’ ➤ Betragt mit svage spind
En Købmand, han staar bøjet ➤ Købmands-Vise
En Snes danske Viser 1915 ➤ BIDRAG TIL ‘EN SNESDANSKE VISER 1915’
En Snes danske Viser 1917 ➤ BIDRAG TIL ‘EN SNESDANSKE VISER 1917’
En svunden Dag | voice, pf. 429 | 151
En Sømand med et modigt Bryst | unison song 409 |50, 60, 147
Endskønt jeg ganske sikkert ved ➤ Til Snapsen i ’Bel Canto’
Er din Stue lav og trang | SA 362 | 94
Erindringens Sø | voice, pf. 12 | 29
Est du modfalden, kære Ven | pf. 234 | 48, 87
Et helligt Liv, en salig Død | pf. 49
Farvel, min velsignede Fødeby! | voice, pf. 96 | pf. 174| SA 371 | 53
FEM SANGE FRA L.C. NIELSENS SKUESPIL ‘WILLEMOES’| voice, pf. 27-31 | 18, 35, 123-124
FIRE FOLKELIGE MELODIER 178-181 | 18, 68
FIRE JYDSKE SANGE TIL TEKSTER AF ANTON BERNTSEN
192-195 | 72-73
FIRE SANGE FRA LUDVIG HOLSTEINS SKUESPIL ‘TOVE’
32-35 | 18, 36-37
Folkehøjskolens Melodibog ➤ BIDRAG TIL ‘FOLKEHØJSKOLENS MELODIBOG’
Folkehøjskolens Melodibog, tillæg ➤ BIDRAG TIL ‘TILLÆG TIL FOLKEHØJSKOLENS MELODIBOG’Forunderligt at sige | pf. 50 | 41-42
Fra Rold til Rebild ➤ Vi Jyder
Fred med dig! og Fred med eder! | pf. 51
Fred og Glæde, for dem græde | pf. 52
Fredlys din Jord, Du danske Mand! | voice, pf. 233 |TTBB 326 | 86, 129533

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Frem til Frihed til Lys og til Lykke ➤ Afholdssangen
Fremtidens Land! | pf. 278 | 106-107
Frihed er det bedste guld | voice, pf. 142 | pf. 157 | 65
Frisk op! endnu en Gang | pf. 53
Frydeligt med jubelkor | pf. 207 | SA 347 | SSA 387 |70, 126, 138, 140-141, 149
Fuglefængervise | voice, pf. 33 | 36
Fyldt med Blomster blusser Æbletræets Gren ➤ SommersangFædreland! Fædreland! | voice, pf. 27 | 35-36Fædrelandssang ➤ Du danske mand! af al din magt
Føden og Klæden, Baaden og Teltet ➤ Sang for Dansk
ArbejdeFølger hvo som følge kan! | voice, pf. 29 | 35
Før drømte jeg fast hver eneste Nat (melodi a) |voice, pf. 3 | 25
Før drømte jeg fast hver eneste Nat (melodi b) |TTBB 318 | 127-128
Gamle Anders Røgters Sang | voice, pf. 36 | 37
Genrebillede | voice, pf. 6 | 26-28, 112
Gensyn | pf. 286 | 110
Gerne vi lytter, naar Strængene bringer | SATB 302 | 123
Gi Husly til to Persowner ➤ Husvild
Glenten styrter fra Fjældets Kam ➤ JægersangenGlæden hun er født i Dag | pf. 54
Godnat | voice, pf. 26 | 30, 32
Gry | pf. 243 | 91Græshoppen | SA 383 | 138Græshoppen sidder paa Engen ➤ Græshoppen
Grøn er Vaarens Hæk | voice, pf. 188 | SSA 348 | unison song 403 | 147
Gud skal al Ting mage | pf. 57
Guds Engle i Flok! | pf. 55
Guds Fred er mer end Englevagt | pf. 56 | unisonsong 420 | 148
Guldﬂoden | pf. 272 | 104
Hagbarth og Signe ➤ Halloges Sang
Halloges Sang | voice, pf. 228 | 18, 83
Har Dagen sanket al sin Sorg | voice, pf. 5 | 28
Har Haand du lagt paa Herrens Plov | pf. 58
Har I nu Tænder i Riven sat | pf. 283 | unisonsong 416 | 107, 147-148
Har nogen Lyst at kende | pf. 59
Havde jeg, o havde jeg en Dattersøn, o ja! ➤ Vise af’Mogens’

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CNU_III_7_indmad.indb 534

Havet omkring Danmark | voice, pf. 31 | pf. 203 |SSA 367 | 19, 35, 70
Havets Sang ➤ Havet omkring Danmark
Hedelærken, den liden fugl | voice, pf. 132 | pf. 161| 64
Helleliden aksler sin Kofte graa ➤ Hellelidens Sang
Hellelidens Sang | voice, pf. 17 | 34-35
Herren siger: Er I trætte | pf. 60
Herrens Røst var over Vandet! | pf. 61
Hil dig vor Fane! | TTBB 328 | 130
Hilsen | voice, pf. 16 | 29-30
Himlen mørkner stor og stum | pf. 249 | 93
Himmelkraftens Herre ➤ Hymne til Livet
Hjemlige Jul, straaler Du nu! | pf. 250 | 94
Hjemstavn | voice, pf. 276 | 105
Hjemvee ➤ Underlige Aftenlufte!
Hold fastere omkring mig ➤ Angst
Holsteinsange ➤ SEKS SANGE TIL TEKSTER AF LUDVIGHOLSTEIN, op. 10
Hr. Oluf der bredes dig Dug paa Disk ➤ Dansevise
Hr. Oluf han rider – ➤ TRE SANGE FRA HOLGERDRACHMANNS DRAMA ‘HR . OLUF HAN RIDER –’Hr. Olufs Sang | voice, pf. 18 | 34
Hun mig har glemt! min Sorg hun ej see! | voice,pf. 103
Hun æ så møj en hwalle Piig ➤ Wo Dætter
Husvild | voice, pf. 25 | 30, 32
Hvad synger du om så højt i det blå? | pf. 180, 198 |68, 70Hvem sidder der bag Skjærmen ➤ Jens Vejmand
Hver har sit, du har dit | pf. 265 | unison song 411 |
101, 147-148
Hvi vil du dig saá klage | pf. 62
Hvor blev den Blomst, som fyldte ➤ Gensyn
Hvor sødt i Sommer-Aftenstunden | voice, pf. 100
Hymne til Danmark ➤ Danmark, i tusend Aar
Hymne til Livet | SSA 393 | 142-143
Høgen | voice, pf. 21 | 30, 32
Højt ligger paa Marken den hvide Sne | voice, pf. 104
Hør, hvor let dens Vinger smækker | voice, pf. 108 |53-54
I Aften | voice, pf. 15 | 29-30, 112
I Drømmenes Land | voice, pf. 222 | 25, 77
I gamle Dage – for over hundred tusind Aar tilbage ➤IslandI hvor jeg end slaar Øiet hen ➤ Længsel

534

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I Knøse! tag, det raader jeg ➤ Tag jer iagt for Anna!
I kølende Skygger | voice, pf. 266 | pf. 281 | unisonsong 408 | 101-102, 107, 147-148
I Maaneskin titter | childrens choir, SSATTBB, pf. 289| 111-112
I Seraillets Have | voice, pf. 2 | 25, 28, 112
I Skoven vipper de Fugle smaa ➤ Fuglefængervise
I Skyggen vi vanke | voice, pf. 89 | pf. 176 | SSAA,
pf. 288 | unison song 350 | 20, 52, 54, 111-112
I Solen gaar jeg bag min Plov | voice, pf. 14 | pf. 213 |
29-30, 70
Ikke det altid slaar til | three-part canon 380 | 137
Impromptu | unison song 428 | 150
Ind under Jul, hvor er det trist | pf. 280 | unisonsong 404 | 107, 147-148
Irmelin Rose | voice, pf. 4 | 24-25, 28
Island | recitation, pf. 287 | 110-111
J.P. Jacobsensange ➤ MUSIK TIL FEM DIGTE AF J.P. JACOBSEN, op. 4
J.P. Jacobsensange ➤ VISER OG VERS AF J.P. JACOBSEN,
op. 6
Ja, tag os, vor Moder | voice, pf. 28 | SATB 304 | 34-35,
123
Jeg bærer med Smil min Byrde | voice, pf. 97 | pf. 166| SATB 310 | 53, 125
Jeg er saa glad i Grunden | unison song 414 | 147
Jeg fandt en Trøst | pf. 63 | 85
Jeg gik i marken og vogtede får | pf. 270 | 103, 136
Jeg har båret lærkens vinge | SA 396 | 136, 143
Jeg kører frem gennem Straalefryd | pf. 263 | SA 397| unison song 412 | 101, 143, 147-148
Jeg lægger mig saa trygt til Ro | voice, pf. 189 |SSA 354
Jeg mødte en Sang paa den alfare Vej ➤ Vibekes Sang
Jeg raaber fast, o Herre | pf. 64
Jeg synes om din lette Gang | voice, pf. 225 | 80
Jeg så kun tilbage | voice, pf. 127 | pf. 150 | 20, 64
Jeg vandrer over mine Fædres Jord ➤ Hjemstavn
Jeg ved en Lærkerede | voice, pf. 182 | SA 373
Jeg ved et lille Himmerig | pf. 65
Jens Madsen wa en Feskermand ➤ Jens Madsen å An-Soﬁ
Jens Madsen å An-Soﬁ | voice, pf. 192 | 72-73
Jens Vejmand | voice, pf. 22 | pf. 201 | 30, 32-33, 36,
69-70, 80
Johan Borups Sangbog ➤ BIDRAG TIL ‘NYE MELODIERTIL JOHAN BORUPS SANGBOG’
Jord, i hvis favn | pf. 129, 149 | 20, 64

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 535

Julesang ➤ Himlen mørkner stor og stum
Julesang ➤ Kom, Jul, til Jord, kom høje GæstJægersangen | voice, pf. 35 | 36
Kampene i Stefan Borgs Hjem ➤ Skal Blomsterne davisne
Kan I mærke, det lysner af solskin i sindet | pf. 206 |70
Kantate ved Grosserer-Societetets Hundredaarsfest ➤TO SANGE FRA VALDEMAR RØRDAMS ‘KANTATE
VED GROSSERER-SOCIETETETS HUNDREDAARSFEST’, op. 31
Kantate ved Aarhus Landsudstillings Aabningshøjtidelighed 1909 ➤ TO SANGE FRA ‘KANTATE
VED AARHUS LANDSUDSTILLINGS AABNINGSHØJTIDELIGHED 1909’
Katholsk Ungdomssang | pf. 231 | 85
Kom blankeste Sol! | TTBB 319 | SSA 385 | SA 386 |
128, 139
Kom, Gudsengel, stille Død | ATB 303 | 20, 32, 123
Kom, i Dag maa alle synge | pf. 236 | SA 389 | 84, 88,141
Kom, Jul, til Jord, kom høje Gæst | pf. 248 | 93
Kommer I snart, I Husmænd! | voice, pf. 37 | 37
Kong Christian stod paa Slotsholmens Grund ➤Christianshavn
Korsets Tegn og Korsets Ord | pf. 66
Kvadet om Nordens Harpe | TTBB 332 | 131-132
Kær est du, Fødeland, sødt er dit Navn | voice, pf. 254| SSA 343 | 96
Købmands-Vise | voice, pf. 110 | 40, 90
Lad en og anden have Ret | pf. 252 | SSA 336 | 96
Luk Øjne op, al Kristenhed! | pf. 67
Længsel | TTBB 316 | 75, 127
Lær mig, nattens stjærne | pf. 178, 196 | 68-70
Maria sad paa Hø og Straa | pf. 68
Melodier til Sangbogen ‘Danmark’ ➤ BIDRAG TIL ‘MELODIER TIL SANGBOGEN DANMARK’Mi Håsbond wa en piinwon Rad ➤ Æ Lastræ
Min Hjelm er mig for blank og tung ➤ Halloges Sang
Min Jesus, lad mit Hjerte faa | pf. 69
Min lille Fugl, hvor ﬂyver du | voice, pf. 102
Min Pige er saa lys som Rav | voice, pf. 118 | SA 392 |19, 38-39, 84, 138, 142
Min Sjæl er mørk | voice, pf. 217 | 74-75
Mit hjem, hvor mine fædres fjed | pf. 209 | 70535

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Moderen ➤ OTTE SANGE FRA HELGE RODES SKUESPIL‘MODEREN’, op. 41
Morgendug, der sagte bæver | pf. 128, 162 | SA 337 | 64
Morgenhanen atter gol | pf. 279 | unison song 401 |
107, 147-148
Morten Børups Majvise ➤ Frydeligt med jubelkor
Morten Børups Majvise ➤ Vaaren – Vaaren er i Brudd!
Motetter ➤ TRE MOTETTER, op. 55
MUSIK TIL FEM DIGTE AF J.P. JACOBSEN, op. 4 | voice,pf. 1-5 | 14, 17, 23-28, 77, 128
Mørket viger, Dagen stiger ➤ Gry
Naturens ædle dyrker | pf. 136, 152 | 65
No wil a sej Jer Godnæt ➤ Godnat
Nordens herlige Harpe! ➤ Kvadet om Nordens Harpe
Nu er da Vaaren kommen | voice, pf. 99
Nu er Dagen fuld af Sang | voice, pf. 98 | pf. 170 |SSA 349 | 53
Nu er for stakket Tid forbi | SATB 296 | 115-116
Nu lyser løv i lunde | pf. 143, 172 | SA 351 | 20, 65
Nu ruger paa Reden i Fjer og Straa | pf. 273 | SA 398 |
104-105, 136, 143
Nu skal det åbenbares | pf. 181, 200 | 68-70
Nu Sol i Øst oprinder mild | pf. 71 | SSA 353
Nu spinder vi for Dittemor | unison song 405 | 147
Nu springer Vaaren fra sin Seng | voice, pf. 105 |pf. 171 | 53-54
Nye Melodier til Johan Borups Sangbog ➤ BIDRAG TIL‘NYE MELODIER TIL JOHAN BORUPS SANGBOG’
Naar jeg betænker Tid og Stund | pf. 70 | 41
Når nat udvælder fra sorten sky ➤ Syndﬂoden
Naar Odin vinker | voice, pf. 91 | 53
Naar Smaabørn klynker ved Aftentide | voice, pf. 187 |pf. 260 | SA 376 | 96
Når somrens sang er sungen | pf. 134, 153 | SSA 368| 64
O, du Guds Lam! med Korsets Skam | pf. 426 | 48, 150
O, havde jeg dog tusind Tunger | pf. 72
O Helligaand! mit Hjerte | pf. 73
O, hvor jeg er glad i Dag! | voice, pf. 190 | pf. 255 |SA 352 | 96
O hør os, Herre, for din Død! | pf. 74
O Kristelighed! | pf. 75
O, sad jeg, som Maria sad | pf. 78
Og jeg vil drage fra Sydens Blommer | voice, pf. 239 |unison song 421 | 12, 55, 88-89, 145, 148-149

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 536

Om strømmen mod dig bruser | pf. 211 | 70
Op al den Ting, som Gud har gjort | pf. 76
Op, I Kristne, ruster eder! | pf. 77
OTTE SANGE FRA HELGE RODES SKUESPIL ‘MODEREN’,
op. 41 | voice, pf. 117-124 | 18, 38-39, 124
Ovnekrog, Lærebog ➤ Student-Tanker i en Gymnastiksal
Pagen højt paa Taarnet sad ➤ Genrebillede
Pigerne inde i Skoven ➤ I Skyggen vi vanke
Prolog Shakespeare ➤ Ariels Sang
Paa alle dine Veje | pf. 79
På det jævne, på det jævne! | pf. 125, 156 | SSA 363 |20, 64, 68
Paa Sjølunds fagre, sommerskønne Ø ➤ Sjølunds SangerePåskeblomst! En dråbe stærk | pf. 146, 229 | TTBB 324| 83-84, 129Påske-Liljen ➤ Påskeblomst! En dråbe stærk
Rosen blusser alt i Danas Have | voice, pf. 94 | pf. 164| SA 335 | 53, 57
Rosen sænker sit Hoved tungt af Dug og Duft ➤I Seraillets Have
Raabet stiger i Morg’nens Skær ➤ Kommer I snart,
I Husmænd!
SALMER OG AANDELIGE SANGE, HALVHUNDRED NYE
MELODIER FOR HJEM, KIRKE OG SKOLE 38-86 | 19,
40-48, 85-88, 149-150
Sanct Hansaftenspil ➤ TO SANGE FRA ADAM OEHLENSCHLÄGERS ‘SANCT HANSAFTENSPIL’
Sang bag Ploven ➤ I Solen gaar jeg bag min PlovSang for Dansk Arbejde | pf. 246 | 92
Sang for femstemmigt blandet Kor ved Dansk Ligbrændingsforenings Jubilæum den 23de Marts 1931 | SSATB 314 | 127
Sangbogen ‘Danmark’ ➤ BIDRAG TIL ‘MELODIER TIL
SANGBOGEN DANMARK’
Sangen har lysning | pf. 179, 197 | 68, 70
Sangen til Danmark ➤ Som en rejselysten FlaadeSe, der var en Gang en Konge ➤ Irmelin Rose
Se dig ud en Sommerdag | voice, pf. 106 | pf. 175 |SA 338 | 53-54
See! Luften er stille | voice, pf. 215 | 74-75
SEKS SANGE TIL TEKSTER AF LUDVIG HOLSTEIN, op. 10| voice, pf. 11-16 | 14, 17, 29-30, 36, 70
Selv naar Tordenen tynger ➤ Ariels Sang
Seraferne | voice, pf. 7 | 28
Serenade ➤ Gerne vi lytter
Serenade ➤ See! Luften er stille536

22/02/09 8:32:52

Sidskensang | SSAT 301 | 14, 20, 123
Silkesko over gylden Læst! | voice, pf. 8 | 27, 112
Sjølunds Sangere | SATTB 311 | 125
Skal Blomsterne da visne | voice, pf. 20 | 30-31
Skal vi vandre en Stund ➤ Til mit Hjertes Dronning
Skummende laa Havet | SATB 293 | 114-115
Sof sött, du lilla Sonja! | pf. 245 | 91-92
Sol er oppe! Skovens Toppe | SSA 356
Solen er saa rød, Mor | voice, pf. 183 | pf. 259 |SSA 374 | 96
Solen skinner i Naboens Gaard ➤ Studie efter Naturen
Solnedgang ➤ Svømmende Skyer, dejlige Cyclader
Som den gyldne Sol frembryder | pf. 80
Som Dug paa slagne Enge | pf. 235 | 48, 87
Som dybest Brønd gir altid klarest Vand | voice, pf. 138| pf. 169 | 65
Som en rejselysten Flaade | voice, pf. 124 | pf. 177 |SATB 306 | SSA 342 | 19, 38-40, 124Sommersang | voice, pf. 13 | 29
Sov ind mit søde Nusseben! | voice, pf. 95 | 53
Sov min lille, min dejlige Dreng ➤ Vuggevise
Sov, mit Barn, sov længe | SSA 369
Spurven sidder stum bag Kvist | voice, pf. 185 |SSA 370 | unison song 407 | 147
St. St. Blicher ➤ Hedelærken, den liden fugl
Stilhed og Mørke | two-part canon 382 | 137
Stille, Guds Folk, o bøj dig ned | pf. 425 | 48, 150
STROFISKE SANGE, op. 21 | voice, pf. 20-26 | 14, 18,
30-33, 36, 112
Student-Tanker i en Gymnastiksal | unison song 419 | 149
Studie efter Naturen | voice, pf. 238 | 88-89, 112
Sus af Vind og Bølgeslag ➤ Dansk Vejr
Svømmende Skyer, dejlige Cyclader (melodi a) | voice,pf. 1 | 23-25, 77
Svømmende Skyer, dejlige Cyclader (melodi b) | voice,pf. 424 | 150
Syndﬂoden | pf. 144, 158 | 65Sænk kun dit Hoved, du Blomst | voice, pf. 23 | voice,orchestra 290 | 30-31, 112
Søndret Folk er vokset sammen | SSA 358 | 39-40
Saa bittert var mit Hjerte | voice, pf. 122
Tag jer iagt for Anna! | voice, pf. 216 | 74-75
Tanker skal tændes og skride | pf. 275 | 105
TI DANSKE SMAASANGE 182-191 | 18, 63, 71-72, 113, 130
Tidselhøsten tegner godt | voice, pf. 121
Tidt er jeg glad, og vil dog gerne græde | voice, pf. 101

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 537

Til Asali ➤ Før drømte jeg fast hver eneste Nat
Til min Fødeø | TTBB 331 | 131
Til mit Hjertes Dronning | voice, pf. 214 | 74-75
Til Snapsen i ‘Bel Canto’ | TTBB 322 | 129
Tilfjelds over Bygden staar min Hu ➤ Vejviseren syngerTillæg til Folkehøjskolens Melodibog ➤ BIDRAG TIL‘TILLÆG TIL FOLKEHØJSKOLENS MELODIBOG’TO SANGE FRA ADAM OEHLENSCHLÄGERS ‘SANCTHANSAFTENSPIL’ 288-289 | 34, 112
TO SANGE FRA JEPPE AAKJÆRS SKUESPIL ‘ULVENS SØN’
| voice, pf. 36-37 | 18, 37-38
TO SANGE FRA ‘KANTATE VED AARHUS LANDSUDSTILLINGS AABNINGS-HØJTIDELIGHED 1909’ 293-294| 114
TO SANGE FRA VALDEMAR RØRDAMS ‘KANTATE VEDGROSSERER-SOCIETETETS HUNDREDAARSFEST’,op. 31 | voice, pf. 110-111 | 19, 40
TO SKOLESANGE | SATB 295-296 | 115
TO AANDELIGE SANGE | pf. 115-116 | 48-50, 64
Ton det, Himmel, syng det, Jord | pf. 81
Tove ➤ FIRE SANGE FRA LUDVIG HOLSTEINS SKUESPIL‘TOVE’
Toves Sang | voice, pf. 34 | 36
TRE MOTETTER, op. 55 297-299 | 20, 116-122
TRE SANGE FRA ADAM OEHLENSCHLÄGERS SKUESPIL‘ALADDIN ELLER DEN FORUNDERLIGE LAMPE’, op.
34 | voice, pf. 112-114 | 18, 38
TRE SANGE FRA HOLGER DRACHMANNS DRAMA ‘HR .
OLUF HAN RIDER –’ | voice, pf. 17-19 | 18, 34
Træd stille, min Veninde ➤ Erindringens SøTraaden brister, Rokken staar | three-part canon 378| 137
Tunge, mørke natteskyer | voice, pf. 137 | pf. 165 | 65
Tyst som Aa i Engen rinder | voice, pf. 184 | pf. 256 |SSA 355 | SA 395 | 96, 143
TYVE FOLKELIGE MELODIER 125-144 | 18, 20, 63-67,
91, 139
Ud gaar du nu paa Livets Vej | voice, pf. 88 | pf. 212 |unison song 372 | 20, 53, 70
Udrundne er de gamle dage | pf. 116, 140, 147 |SATB 312 | unison song 359 | 48-50, 64-65, 125-126
Uforsagt, hvordan min Lykke | pf. 82
Ulvens Søn ➤ TO SANGE FRA JEPPE AAKJÆRS SKUESPIL‘ULVENS SØN’
Under Korset stod med Smerte | pf. 83
Underlige Aftenlufte! (melodi a) | voice, pf. 90 | pf. 163| SATB 309 | SSA 345 | 15, 53, 55, 57, 60, 125537

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Underlige Aftenlufte! (melodi b) | voice, pf. 427 | 150
Undrer mig paa, hvad jeg faar at se | unison song 406| 147
Utallige Blomster paa Jorderig gro | pf. 84
Ve’ du sla’ mej ➤ Bokserne
Ved Festen ﬁk en Moder Bud | voice, pf. 120
Vegen er Dagen ➤ Hr. Olufs Sang
Vejviseren synger | voice, pf. 218 | 17, 76
Velkommen Lærkelil | unison song 423 | 149
Velsignet være du, vor Herre, Gud ➤ Katholsk Ungdomssang
Vender sig Lykken fra dig | voice, pf. 92 | pf. 168 | 53
Verdens Børn har mangt et Sted | pf. 85
Vi Børn, vi Børn, vi vaagner | pf. 230 | SATB 305 |TTBB 325 | SA 388 | 84-85, 124, 129, 141
Vi elsker vort blomstrende Fædreland | voice, pf. 242 |pf. 253 | SA 341 | 90-91, 96
Vi er Jyder, Børn af Landet ➤ Vi Jyder
Vi ﬁk ej under tidernes tryk | pf. 155, 227 | TTBB 323| SSA 360 | 81-83, 129, 149
Vi fri Folk fra Norden | SSA 365 | unison song 418 |92, 149
Vi Jyder | voice, pf. 274 | 18, 105
Vi nævner et navn | pf. 202 | 70
Vi Sletternes Sønner har Drømme i Sind | voice, pf. 32| pf. 204 | 19, 36, 70

Carl Nielsen Udgaven CN 00051

CNU_III_7_indmad.indb 538

Vibekes Sang | voice, pf. 30 | 35
Vildt gaar Storm mod sorte Vande | voice, pf. 117
Vinden er så føjelig | pf. 208 | 70
Vise af ‘Mogens’ | voice, pf. 10 | 27
VISER OG VERS AF J.P. JACOBSEN, op. 6 | voice, pf. 6-10
| 14, 17, 23-28, 128
Visselulle nu, Barnlil! | voice, pf. 113 | 38
Vocalise-Étude | voice, pf. 267 | 102-103
Vor Herre, han er en Konge stor | pf. 86
Vor Verden priser jeg tusindfold | voice, pf. 93 | 20, 53
Vuggevise | unison song 417 | 148Vægter jeg beder, hold op med i Sang | two-part canon 379 | 137Vældige Riger rives om Jorden | pf. 258 | SSA 366 | 96
Vær hilset Høg over Granetop ➤ Høgen
Vaaren – Vaaren er i Brudd! | SATB 313 | unisonsong 402, 422 | 126-127, 140-141, 147, 149
Willemoes ➤ FEM SANGE FRA L.C. NIELSENS SKUESPIL‘WILLEMOES’Wo Dætter | voice, pf. 193 | 72-73
Æ Lastræ | voice, pf. 195 | 72-73
Æbleblomst | voice, pf. 11 | 29-30, 70, 112538

22/02/09 8:32:53