PETER HEISE STRYGEKVARTETTER NR. 1-6 STRING QUARTETS NOS. 1 6 UDGIVET AF EDITED BY. København 2017 MICHAEL FJELDSØE

Transkript

1 PETER HEISE STRYGEKVARTETTER NR. 1-6 STRING QUARTETS NOS. 1 6 København 2017 UDGIVET AF EDITED BY MICHAEL FJELDSØE

2 Peter Heise. String Quartets Nos Edited by Michael Fjeldsøe Translation o the reace and introduction Cover design Layout Music tyeset with Sibelius by Distribution ISMN DCM Sonsored by 2017 Dan A. Marmorstein Willeru & Hans Mathiasen DCM Dansk Center or Musikudgivelse (DCM), København Statens Kunstond Danish Centre or Music Editing (DCM) Royal Danish Library, Coenhagen

3 Nordic Musical Heritage Network Nordic String Quartets Vol. 1

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5 INDHOLD CONTENTS Generelt orord vi General Preace vi Udgiverens orord vii Editor s Preace viii Indledning ix Introduction xii Strygekvartet nr. 1 i h-mol / String Quartet No. 1 in B minor 1 1. Allegro 2. Larghetto. Scherzo. Prestissimo 4. Allegro vivace Strygekvartet nr. 2 i G-dur / String Quartet No. 2 in G major Allegro molto vivace 2. Largo. Menuetto. Allegro 4. Allegro molto Strygekvartet nr. i B-dur / String Quartet No. in B lat major Moderato assai Allegro assai vivace 2. Scherzo. Presto agitato. Andante sostenuto 4. Finale. Molto allegro Strygekvartet nr. 4 i c-mol / String Quartet No. 4 in C minor Largo Allegro molto 2. Andante tranquillo. Menuetto. Allegro moderato 4. Finale. Vivace Strygekvartet nr. 5 i A-dur / String Quartet No. 5 in A major Allegretto tranquillo Allegro vivace 2. Andantino sostenuto. Scherzo. Vivace 4. Finale. Adagio, quasi Fantasia Allegro energico, ma non troo resto Strygekvartet nr. 6 i g-mol / String Quartet No. 6 in G minor Largo Allegro aassionato 2. Andantino, quasi allegretto. L istesso temo, oco a oco accelerando Presto 4. Finale. Andante sostenuto Allegro molto Abbreviations 202 Critical Commentary 20 DCM 028 v

6 GENERELT FORORD Dansk Center or Musikudgivelse (DCM) blev etableret i 2009 som en orskningsenhed under Det Kgl. Bibliotek. Centeret har til ormål at tilgængeliggøre musikalske værker og musik historiske kilder a interesse or musikorskningen og det raktiske musikliv og i denne orbindelse at videreøre, udvikle og udbygge kometencer inden or musikilologi samt at udvikle metoder og værktøjer til digital musik edition. Noder udgivet a DCM er såkaldt raktisk-videnskabelige udgaver. Det vil sige, at de er tilrettelagt med henblik å raktisk brug, men at der også nøje bliver gjort rede or redaktionelle indgreb og or de avigelser (varianter), der måtte være mellem orskellige kilder til værket, så læseren eller musikeren kan å et indtryk a værkets tilblivelse og varians. DCMs nodeudgivelser er desuden orsynet med en indledende tekst, som introducerer til værkets historie og recetion. De leste a DCMs ublikationer kan både downloades rit og købes trykt. GENERAL PREFACE The Danish Centre or Music Editing (DCM) was established in 2009 as a research unit under the Royal Danish Library. The Centre s rimary aim is to make musical works and musical sources related to Danish history available or scholars and erormers; the aim is also to develo and to exand hilological cometences and to develo methods and tools or digital editions o music. Musical works ublished by DCM are ractical scholarly editions; that is, they have been edited or ractical use, but they also exlain careully any editorial intervention as well as discreancies (variants) that there might be between the work s various sources. Thus the reader or erormer can get an imression o its genesis and variance. DCM s music ublications include a reace introducing the reader to the history o the work and its recetion. The majority o DCM s ublications may be downloaded ree o charge, or a rinted aerback coy may be urchased. vi DCM 028

7 UDGIVERENS FORORD Pe ter Heises seks strygekvartetter, skrevet i årene , har det med at blive genodaget. De var skrevet til brug i det halv rivate musikliv, der udoldede sig i Københavns musikdyrkende borgerhjem. Eter Heises død orblev hovedarten a manuskriterne i cellisten og vennen Julius Holms eje, og da han døde i marts 1909, blev de ørste gang undet hos en Arkivar a Recke 1909 Aril. 1 Recke er ormentlig Ernst von der Recke, der var tilknyttet Det Kgl. Bibliotek ra 1885 til 1890; noderne kom i ørste omgang tilbage til Ville Heise, Heises enke, hvorra de sammen med hele hendes samling indgik å Det Kgl. Bibliotek i Anden gang noderne blev undet var i orlængelse a Gustav Hetschs udgivelse Breve ra Peter Heise (København 190). Her er en a kvartetterne nævnt, hvilket ik Richard Hove, en vigtig dansk musikentusiast ra Thisted, til at gå å jagt i bibliotekets nodesamling, hvor han andt de seks kvartetter i den omtalte akke. Her starter værkernes vej til oentligheden, idet den ørste oentlige oørelse a en Heise-kvartet andt sted ved en koncert i Thisted Musikorening i 191. Senere tager Danmarks Radio og lere danske kvartetter lejlighedsvis staetten o, idet nogle a kvartetterne cirkulerer i askriter. Med denne udgivelse er det således tredje gang, at noderne er blevet gravet rem a Det Kgl. Biblioteks samlinger, og denne gang ermanent. Udgivelsen er resultatet a et samarbejde mellem Dansk Center or Musikudgivelse å Det Kgl. Bibliotek og Adelingen or Musikvidenskab å Institut or Kunst- og Kulturvidenskab, København Universitet. I orbindelse med et undervisningsorløb i 2014 om musikilologi, der var orestået a udgavens udgiver, blev der indgået en atale om at en grue studerende ik adgang til at arbejde med manuskriterne til Heises kvartetter med henblik å at lave orarbejder til en videnskabelig kritisk udgivelse a kvartetterne. Samtidig indgik de to arter et samarbejde med ladeselskabet Dacao med henblik å en eterølgende indsilning a værkerne. Dette samarbejde om et konkret udgivelsesrojekt var meget insirerende or alle arter, og ikke mindst de studerende, hvis orarbejder er indgået i grundlaget or denne udgivelse. De deltagende studerende har i løbet a kurset lavet udkast til revision a de tre ørste kvartetter: Ragnheiður Jónsdóttir, Katharina Quist, Jasmin Rose Patel og Rose Marie Majlund Kent har arbejdet med kvartet nr. 1, Katarina Smitt Engberg, Cecilia Cresso, Jeser Balslev, Signe Røn og Anders Beck Aktor med kvartet nr. 2, og Nina Agerskov, Marie Fjeldsted Nissen, Elise Ligaard og Louise Wilk-Zerahn med kvartet nr.. Desuden har de studerende løst eksamensogaver med udgangsunkt i kvartet nr. 4 og nr. 6. En stor tak or det store engagement og de mange gode orslag. For den endelig revision har undertegnede det ulde ansvar. Der skal desuden her rettes en tak til Det Kgl. Bibliotek or et tæt og velungerende samarbejde, både med Dansk Center or Musikudgivelse og Musiksamlingen, hvor særligt Iben Brodersen og Anne Ørbæk Jensen har været til stor hjæl. Og endelig en tak til komonist og studielektor Svend Hvidtelt Nielsen, som har ageret sarringsartner ved diskussionen a vanskelige sørgsmål under revisionsarbejdet. Michael Fjeldsøe 1 Påskrit å omslaget om en akke noder, Gl. Noder tilh.[ørt] Julius Holm, i dag DK-Kk, Heises samling DCM 028 vii

8 EDITOR S PREFACE Peter Heise s six string quartets, comosed in the years , are in the rocess o being rediscovered. They were written or use in the semi-rivate musical lie that was unolding in Coenhagen s music-cultivating bourgeoisie. Ater Heise s death, the majority o the manuscrits remained in ossession o the comoser s riend, the cellist Julius Holm, and when Holm died in March 1909, they turned u, or the irst time, in a ackage that was marked ound, by Recke, in the ossession o an archivist, in Aril o The Recke mentioned here is, in all likelihood, Ernst von der Recke, who was ailiated with The Royal Danish Library rom 1885 to 1890; the scores were initially returned to Ville Heise, Peter Heise s widow, rom whom they, along with her entire collection, were incororated into The Royal Danish Library in The second time the music scores turned u was occasioned by the aearance o Gustav Hetsch s ublication, Breve ra Peter Heise [Letters rom Peter Heise] (Coenhagen 190). Here, one o the six quartets is mentioned. This led Richard Hove, an inluential Danish music enthusiast rom Thisted, to go hunting around in the library s collection o scores, where he ound the six quartets in the ackage mentioned above. It is here that the works athway to ublic scrutiny commences, seeing as the irst ublic erormance o a Heise Quartet took lace at a concert in the Thisted Music Association in 191. Later on, the Danish Broadcasting Cororation and a number o active Danish quartets occasionally icked u the baton, esecially because some o the quartets had started to circulate in coies. What we have with the resent ublication is thus the third time that these scores have been retrieved. This time around, it s or good. This ublication is the result o a collaboration between The Danish Centre or Music Editing (DCM) at The Royal Danish Library and the Section o Musicology in the Deartment o Arts and Cultural Studies (IKK), at the University o Coenhagen. In connection with a course oered in 2014 on music hilology, conducted by the editor o the resent ublication, an agreement was reached that a grou o students would be given access to work with the manuscrits o Heise s quartets, with an eye towards breaking ground or the rearation o a scholarly critical ublication o the quartets. At the same time, the two arties entered into a collaboration with Dacao Records, or uroses o subsequently bringing orth a recording o the string quartets. This collaboration around a seciic ublishing roject was most insiring or all the arties, and esecially or the students, whose ground-breaking eorts have been incororated into the oundation or this ublication. The articiating students have, during the lase o the aorementioned course, ut orth reliminary suggestions or the revision o the irst three quartets: Ragnheiður Jónsdóttir, Katharina Quist, Jasmin Rose Patel and Rose Marie Majlund Kent have been working with String Quartet No. 1; Katarina Smitt Engberg, Cecilia Cresso, Jeser Balslev, Signe Røn and Anders Beck Aktor have been working with String Quartet No. 2; and Nina Agerskov, Marie Fjeldsted Nissen, Elise Ligaard and Louise Wilk-Zerahn have been working with String Quartet No.. Moreover, the students have been dealing with exam-related assignments based on material ound in String Quartets Nos. 4 and 6. A resounding round o thanks goes out to all o these individuals, or their wholehearted commitment and or the many ine suggestions. When it comes to the inal revision o the ieces, the editor takes ull resonsibility. In addition, a round o thanks goes out to The Royal Danish Library, or a close and well-unctioning cooeration, both with The Danish Centre or Music Editing (DCM) and with the library s Music Collection, where articularly Iben Brodersen and Anne Ørbæk Jensen have been o great hel. And, inally, a round o thanks goes out to comoser and teaching associate roessor Svend Hvidtelt Nielsen, who has acted as a sarring artner in discussions o diicult questions during the work o making revisions. Michael Fjeldsøe 1 Inscrition on the cover o a ackage o scores, Gl. Noder tilh.[ørt] Julius Holm [Old music material belonging to Julius Holm], resently in DK-Kk, Heises samling viii DCM 028

9 INDLEDNING Peter Heise ( ) skrev sine seks strygekvartetter i årene ra 1851 til De er ote blevet betragtet som ungdomsværker, men det vil være rigtigere at betragte dem som værker skrevet a en komonist i sine ormative år. Heise var vokset o i det højere københavnske borgerskab, hvor strygekvartetsil var en del a den kulturelle raksis, og han kendte deror ra barnsben a strygekvartet genren som en levende kultur. Da han skrev sin ørste stryge kvartet, ormentlig i vinteren , havde han således allerede et tæt og langvarigt orhold til kvartetsillet og havde også selv deltaget i de skitende besætninger, der sillede kammermusik i rivate og halvoentlige sammenhænge. Tilblivelse Heise blev ødt i 180 i en borgerlig embedsmandsamilie med en ar, som var kancellisekretær og senere justitsråd. Hans mor døde ved hans ødsel. Han ik deror et tæt orhold til roessor Sibberns musikdyrkende amilie, ligesom han havde sin gang hos konerensråd Chr. Fr. Holm, hvor han blev nære venner med to a sønnerne, den jævnaldrende Julius, der var cellist, og den lidt yngre Edvard, der blev roessor i historie. 1 Hos amilien Holm var det skik, at der hver 14. dag blev sillet strygekvartetter, normalt med kaelmusicus Vilhelm Holm som rimarius og Chr. Fr. Holm å andenviolin. Heise er således vokset o i et miljø, hvor det borgerlige hjemlige musikliv, inklusive strygekvartetsil, var en naturlig del a det kulturelle miljø. Edvard Holm skriver i sine erindringer, at kernen i reertoiret var Haydn, Mozart og Beethoven. 2 Eter sin studentereksamen i 1847 ik Peter Heise i et ar år undervisning i musikteori hos A.P. Berggreen, der også havde været Niels W. Gades lærer. Et væsentligt led i hans udvikling var et studieohold i Leizig, hvor han ra oktober 1852 til maj 185 studerede som rivatelev hos Moritz Hautmann, der var lærer i musikteori å Leizigs berømte konservatorium og samtidig havde stillingen som Thomaskantor. Det kan deror ikke undre, at et a hovedtemaerne i undervisningen hos Hautmann var kontraunkt, et område, hvor Heise selv indrømmede, at han havde et Hul i min Skolegang hos Berggre[e]n. Det remgår a Heises breve ra Leizig, at han studerede littigt; udover musikteori dyrkede han både violin- og klaversil og deltog ivrigt i byens koncertliv. Det remgår også, at han i de ørste måneder helligede sig studierne og ikke komonerede noget selv å nær begyndelsen a en trio. 4 Dera kan man udlede, at udover den 1. strygekvartet er 1 Gustav Hetsch, Peter Heise, København 1926, s. 9-17, Edvard Holm, Minder ra min Barndom, i Mit Hjem (Nationaltidende). København 191, Gustav Hetsch, Breve ra Peter Heise, København 190, s. 1 (brev til Edv. Holm, ). 4 Ibid. s. 40 (brev til Victor Heise, ). Den nævnte trio kan ikke identiiceres. også den 2. strygekvartet, dateret 1852, komoneret ør oholdet i Leizig. A de sidste ire kvartetter er kun den sidste indirekte dateret gennem et brev ra 1857, hvor Heise skriver: Først nu er jeg iærd med en Strygeqvartet, hvora det ørste Stykke er ærdigt, og jeg er meget tilreds dermed; den gaaer uda gmoll. Havde jeg kun saavel at aa det die Stykke i den; det er jeg aa Jagt eter i disse Dage. 5 Samme år blev han git med Ville,. Vilhelmine Hage, og i december tiltrådte han en stilling som lærer ved Sorø Akademi, hvor han var ansat rem til De sidste ire kvartetter er således knyttet til en eriode, hvor han igen var del a det københavnske borgerlige musikliv. Indlydelsen ra Leizig kan blandt andet sores i den vægt, han lægger å kontraunktisk arbejde. Han leger dog allerede med omvendinger a temaet i ørste sats a kvartet nr. 1 og i kvartet nr. 2 med et tema, der går igen ra den langsomme anden sats i slutsatsen. Men det er tydeligt, at de ølgende kvartetter ormmæssigt bliver både betydeligt længere og mere ambitiøse med langsomme indledninger, lere kontraster og større udsving i modulationerne. Når man skal vurdere Heises kvartetter i musikhistorisk lys, må det tages i betragtning, at de er skrevet med henblik å den halvrivate eller halvoentlige borgerlige musikraksis, hvor roessionelle musikere og højt kvaliicerede amatører i ællesskab sillede strygekvartetter. Heises kvartetter er, ligesom en stor del a euroæisk strygekvartetlitteratur ra midten a 1800-tallet, skrevet til brug i dette musikliv bestående a både roessionelle og amatører, og tidens komonister har taget i betragtning, at værkerne skulle kunne ungere i denne musikkultur og endnu ikke var rendyrket koncertsalsmusik. Bortset ra ire koncerter i sæsonen var det ørst ra 1854, at strygekvartetter blev en del a Musikoreningens koncerter i København og dermed blev en del a det oentlige koncertliv. Tilsvarende var Kammermusikoreningen a 1868, også kaldet Natmandsoreningen, den ørste orening i København, hvor strygekvartetter udgjorde den centrale del a reertoiret. Om 1840 erne hedder det i Angul Hammerichs remstilling ra 1886 a Musikoreningens historie: Strygekvartetten sillede dengang samme Rolle som Klaveret nu om Stunder. Der var vel næe et rigtigt musikalsk Hus, der ikke havde sin regelmæssige ugentlige Kvartetaten. 6 Konteksten er således en ælles euroæisk kultur or strygekvartetsil med Haydn, Mozart, Beethoven, Schubert og Mendelssohn i centrum, men med et bredere reertoire til brug i den borgerlige musikkultur, hvora en stor del i dag ikke længere er en del a standardreertoiret. 5 Ibid. s. 57 (brev til Edv. Holm, ). 6 Angul Hammerich, Musikoreningens Historie (Festskrit i Anledning a Musikoreningens Halvhundredaarsdag, bd. 2), s DCM 028 ix

10 Proveniens Alt kildemateriale beinder sig i Heises samling, som kom samlet til Det Kgl. Bibliotek eter at Heises enke, Ville Heise, døde i Samlingen er i accessionsrotokollen registeret som indgået i Her er samlingen registeret som en række enkeltværker, som dog ikke nævner alle indgåede værker, samt nogle akker, der indeholder en større mængde manuskriter. Særlig væsentlig er en akke med åskriten P. Heise. gl. Noder tilh. Julius Holm / undet hos en Arkivar a Recke 1909 Aril / ikke gjennemsete. Desuden er der tiløjet å akken med blyant: Ungdomsarbejder, mest or Violoncel. NB ikke alt a Heise selv. Heri beandt sig artiturerne til kvartet nr. 1-, indbundet samlet, samt stemmesæt til kvartetterne nr Dette ortæller os lere ting om disse kvartetter. For det ørste, at oørelsesmaterialet til de sidste em kvartetter har været i Julius Holms eje. Julius Holm var som nævnt cellist og en nær ven a Heise, der skrev en række småstykker or cello og klaver tilegnet ham,.eks. et med titlen Atter en ny Vise, endnu langt grueligere end den orrige, or Pianoorte og Violoncello. Til min Ven J. Holm ra P. Heise. 7 Det kunne tyde å, at stemmerne snarere har beundet sig i amilien Holms nodesamling end hos Heise selv, og at de ørst eter Julius Holms død er blevet undet hos (ormentlig) en antikvar og derra er kommet tilbage til Ville Heise i Alle disse stemmesæt bærer tydelige brugssor. Det kan underbygge ormodningen om, at Heise skrev sine kvartetter med henblik å dette halvrivate borgerlige musikliv. Partiturerne til de ørste tre kvartetter har også beundet sig i denne akke. Da den tilsyneladende har ligget uden at blive gennemset hos Ville Heise, er det ormentlig Julius Holm, der har ladet de tre uens manuskriter indbinde samlet. Alt tyder å, at det er sket ør aleveringen til biblioteket, idet bindet ikke bærer Det Kgl. Biblioteks mærke. For det andet viser det aktum, at akken ikke har været gennemset, at disse kvartetter ikke har været i brug i en længere eriode. For det tredje kan bemærkningen Ungdomsværker, tilsyneladende skrevet uden en nærmere gennemgang a materialet, være med til at orklare, at kvartetterne i etertidens litteratur er blevet betragtet som mindre betydelige. Stemmerne til den ørste kvartet beandt sig i en anden akke, der havde åskriten Heises skrevne Noder ra ældre Tid, ikke trykkes, maaske helst brændes. Bemærkningen er ligesom å den ovennævnte akke skrevet i blæk, og ormuleringen tyder å, at den kunne være skrevet a Ville Heise. Hun har været i en osition, hvor hun har ønsket at værne om Peter Heises ry som en anset og roessionel komonist, og der er næe andre, der legitimt har kunnet overveje, om disse noder skulle brændes. I modsætning til de øvrige stemmesæt er disse stemmer skrevet a Heise selv og bærer ikke tydelige brugssor. Det er således ikke til at agøre, om den ørste kvartet har været oørt, selv om det må ormodes, at Heise i de kvartetsillende kredse, hvor han ærdedes, i det mindste har ået kvartetten gennemsillet. Stemmerne er dog ikke, som de øvrige, indgået i Julius Holms samling. 7 Dk-Kk, C II, 7k, Heises samling 86a. Recetion og virkningshistorie På grund a kvartetgenrens halvrivate karakter er det ikke mærkeligt, at der ikke indes sor eter oentlige oørelser i Heises levetid. De har ikke været å rogrammet ved nogen kendt lejlighed ved en oentlig koncert i 1800-tallet. Heller ikke i ørste del a 1900-tallet er der nogen sor i aviserne eter oørelser, men det er i overensstemmelse med, at noderne ikke har været udgivet og heller ikke har været i oentlig cirkulation i askrit. Nodematerialet har beundet sig hos Julius Holm og Ville Heise indtil det i landede å Det Kgl. Bibliotek. Herra er kvartetterne blevet undet i lere omgange, og i det 20. århundrede har nogle a kvartetterne været oørt, selv om deres oørelses- og recetionshistorie har været begrænset. Den ørste kvartet, der ik en oentlig oørelse, var kvartet nr. 6 i g-mol. Den er som nævnt omtalt i Heises breve, der udkom i 190, og i orlængelse hera gik Richard Hove å jagt i Det Kgl. Bibliotek og andt alle seks kvartetter. Richard Hove var mølleejer i Thisted, men samtidig en markant skikkelse i dansk musikliv, hvor han utrætteligt arbejdede or kendskabet til danske komonisters musik. Han sørgede i 191 or, at Thorvald Nielsenkvartetten tog kvartetten å sit rogram ved en koncert den. november i Thisted Musikorening, hvor de desuden sillede Kuhlaus eneste kvartet og en kvartet a Carl Nielsen, der var død kort orinden. Hove skrev selv oromtale til koncerten i Thisted Amtsavis: Med et overraskende Greb aa at skrive elegant or Strygeinstrumenterne ormer han med ægte Heisesk Melodiøsitet en egen Kammermusikstil, der har Betingelser or at bidrage til en hel ny Vurdering a hans Stilling i dansk Musikhistorie. [ ] Thisted Musikorening kommer altsaa til at oleve Heises [oentlige] Debut som Strygekvartetkomonist 52 Aar eter hans Død. 8 Dereter tog Danmarks Radio over som hovedaktør. Her var det Erling Bloch-kvartetten, der sillede den 6. kvartet, ræsenteret som 1. Gang. Den blev udsendt i radioen den 10. setember 1945 i et rogram med titlen Den danske Strygekvartet, og den 22. oktober blev kvartetten gentaget ved en koncert i Odd Fellow Palæets mindre sal. I Nils Schiørrings anmeldelse er der igen okus å genodagelsen: Den er ornylig remdraget a Glemselen aa Det kgl. Bibliotek og aabenbarede sig som et herligt Stykke Musik, risk og ejende med stor musikalsk Overlegenhed og umiddelbart smilende i sin Musikalitet. 9 Tilsvarende lød det i Berlingske Tidende: Det er et bevæget og levende Stykke Musik, overlegent gjort i sin Form og i sin Behandling a de ire Strygere. 10 Radioen ølger o med yderligere oørelser. Den 7. ebruar 1955 siller Erling Bloch-kvartetten igen den 6. kvartet, og den 9. aril er det kvartet nr. i B-dur, der står or tur. Ti år senere er det Mogens Brendstru-kvartetten, der den 9. august siller kvartet nr. 6, og den 12. juli 1968 siller de den 4. kvartet i c-mol (der bliver 8 Richard Hove, Thisted Musikorenings ørste Koncert, Thisted Amtsavis, 0. oktober 191. Samme artikel blev bragt i Thisted Amts Tidende dagen eter, og i samme avis kunne man den 4. november læse en omtale a koncerten atenen ør. 9 N.Sch., Erling Bloch-Kvartetten, Nationaltidende, 2. oktober J.J. [Jørgen Jersild?], Fornem Kvartet-Aten, Berlingske Tidende, 2. oktober x DCM 028

11 genudsendt to år senere). I 1972 har Villy Kær-kvartetten taget den å rogrammet ved en udsendelse 28. marts, og i 198 kan man høre den i rogrammet Hvoror hører man aldrig?. 11 Også i 1980 har man kunnet høre c-mol-kvartetten i radioen. 12 Man kan givetvis inde enkelte yderligere oørelser i det danske koncertliv, i nyere tid har or eksemel Coenhagen String Quartet hat kvartet nr. 4 å reertoiret, 1 men indtil nu har det ormentlig kun været tre a kvartetterne, hvortil der har cirkuleret stemmemateriale, der har muliggjort, at de har hat et liv i den musikalske oentlighed. 14 Heises notationsraksis Det er interessant at se, hvordan manuskriterne asejler samtidens kultur or kvartetsil, og hvordan de samtidig asejler Heises udvikling til en stadig mere selvbevidst komonist. I de ire ørste kvartetter er artiturerne udormet sådan, at der ote kun står dynamik i én stemme, og ved udskrivningen a stemmer er der ørt dynamiske angivelser ind i lere eller alle stemmer. Det har altså været en konvention, som koisten kendte og anerkendte. Men især i de ørste kvartetter er det ote sådan, at der kun er dynamik skrevet ud i nogle a stemmerne, og især i cellostemmen er dynamikken sarsom. Det er ikke udtryk or Heises manglende eraring eller evner, men or en anderledes raksis or kvartetsil, hvor det i højere grad var sammensillet end nodeteksten, der styrede dynamikken. Når rimarius eller en remtrædende stemme ændrede dynamik, ulgte de øvrige musikere med, uden at det behøvede at være noteret ekslicit. Også å et andet unkt asejler manuskriterne en ældre notations- og oørelsesraksis. Det gælder, hvor Heise anvender dynamiske angivelser til at remhæve et motiv. Han bruger.eks. gentagne crescendokiler til at remhæve en igur, således at den dynamiske angivelse snarere år karakter a udtryksangivelse å linje med esressivo. Det remgår a konteksten, når gentagen dynamik i en stemme ikke skal læses som en ermanent orøgelse eller ormindskelse a styrkegraden i modsætning til de øvrige stemmer. Disse steder er Heises notationsraksis bibeholdt, selv om den ikke er gængs i moderne notationsraksis. I sine to sidste kvartetter ændrer Heise raksis, så han i artituret som regel udskriver dynamik i alle stemmer, og han orventer, at koisten tilsvarende udskriver det i alle stemmer. Det kan både asejle en begyndende ændring i kvartetkulturen og en stigende selvbevidsthed hos Heise som roessionel komonist. På den ene side er strygekvartetter å vej mod at blive en mere oentlig genre, å den anden side skriver Heise i højere grad rettet mod en oentlighed, hvor noder otentielt distribueres også til kredse uden or komonistens rækkevidde og deror har behov or en mere ekslicit notationsorm. Med andre ord er det tænkeligt, at han har hat ublicering i tankerne. Heises skrivemåde asejler hans intime kendskab til strygekvartetsil. Han har en stærk ornemmelse tematisk arbejde og or kvartetsillets virkemidler og har samtidig okus å at skabe variation og aveksling i klangbilledet. Ved genkomst a en assage bytter han ote om å instrumenterne, og man kan se, at han i en del tilælde ørst har skrevet en nodetro gentagelse og dereter ændret udormningen i detaljen or at skabe variation. På samme måde er hans reriser ote koncentrerede i orhold til eksositionerne. Der er deror i udgaven ikke ensrettet ved gentagne assager ud over det niveau, hvor det er klart, at der tilstræbes en identisk assage i modsætning til en varieret gentagelse. Revisionsraksis Den ørste kvartet er særegen derved, at Heise selv har skrevet både artitur og stemmer. Ved udskriten a stemmerne har han arbejdet videre med dynamik og detaljer i udormningen, således at det i dette tilælde er stemmerne, der indeholder den mest uldstændige og seneste nodetekst ra Heises hånd. Deror er stemmerne her lagt til grund som hovedkilde. I de øvrige kvartetter har Heise ladet stemmerne koiere ra artituret a en koist. I disse tilælde er Heises artitur lagt til grund som hovedkilde or udgaven. Hvor Heise anvender ældre notationsraksis,.eks. at dynamik imlicit normalt gælder or alle stemmer, hvis ikke noget modsiger dette, har udgaven moderniseret dette til moderne notationsraksis med dynamik angivet i alle stemmer. Det samme gælder den raksis, at artikulation,.eks. staccato, kun er angivet i begyndelsen a en assage og måske kun i en enkelt stemme. Sådanne ændringer remgår a revisionsberetningen. Alle indholdsmæssige orskelle i sekundærkilder vedrørende buesætning, tonehøjde og -længde og artikulation er medtaget som varianter i revisionsberetningen ligesom avigende eller yderligere dynamik. Derimod er raværet a dynamiske angivelser i en sekundærkilde ikke nævnt. Moderniseringer a notationsorm, buer, bjælker og ortograi, som ikke indebærer nogen betydningsmæssig orskel, er oretaget stiltiende. Dog er Heises brug a bjælker generelt ulgt, og hvor særegen buesætning er vurderet som signiikant, er denne bibeholdt. Når Heise noterer cello i G-nøgle, noterer han en oktav over moderne raksis; dette er ændret til nutidig raksis. 11 Programolysninger ra Danmarks Radios hvide rogrammer, dvs. radioens arkiv over rogrammer med indørte rettelser, når der var ændringer i det annoncerede rogram. 12 C-n., En dejlig Heise-udsendelse, Jyllands-Posten,. juni C. subage Reertoire. 14 De indørte takttal i stemmerne til kvartet nr. 2 kunne dog antyde, at der også har været lavet en koi a stemmerne til denne kvartet. DCM 028 xi

12 INTRODUCTION Peter Heise (180 79) comosed his six string quartets in the years rom 1851 until They have oten been considered works o his youth but it would be more correct to consider them works written by a comoser in his ormative years. Heise had grown u in the higher circles o the Coenhagen bourgeoisie, where laying string quartets had come to be an integral and essential art o cultural ractice. For this reason he knew, rom the time o this childhood, about the string quartet genre as a lively culture. When he comosed his irst string quartet, which was, in all likelihood, written in the winter o , he already enjoyed a close and long-lasting relationshi with laying string quartets and he had also taken art in the shiting ensembles that were laying chamber music in rivate and semi-ublic situations. Formation Heise was born in 180 into a civil servant amily, with a ather who was initially a chancellery secretary and eventually became a Permanent Secretary. His mother died during Peter Heise s birth. As a result, he accordingly took art in the amily lie o other bourgeois amilies, cultivating an esecially close relationshi with university roessor o hilosohy Sibbern s music-cultivating amily. Heise was also a regular visitor at government oicial Chr. Fr. Holm s home, where he became close riends with two o the sons, Julius, who was the same age as Peter and was a cellist, and the slightly younger Edvard, who eventually became a roessor o history. 1 At the Holm amily, it was customary that once every two weeks, string quartets were layed, usually with Vilhelm Holm, who was a member o the orchestra o The Royal Theatre, as the irst violinist and Chr. Fr. Holm on the second violin. Accordingly, Peter Heise grew u in a milieu where the bourgeois domestic musical lie, including laying string quartets, was a natural art o the cultural milieu. Edvard Holm writes in his memoirs that the core o the reertoire was Haydn, Mozart and Beethoven. 2 Ater comleting his secondary school education in 1847, Peter Heise was taught, or a ew years, music theory by A.P. Berggreen, who had also been Niels W. Gade s teacher. An imortant eisode in Heise s develoment was a study sojourn in Leizig, where, rom October 1852 until May 185, he took lessons, as a rivate uil, with Moritz Hautmann, who taught music theory at Leizig s amous conservatory and simultaneously held the osition o musical director o the Thomanerchor. Not surrisingly, one o the themes in the instruction oered by Hautmann was counteroint, an area where Heise himsel was orced to concede that there was certainly a lack in my schooling at Berg gre[e]n s. What is made evident in a erusal o the letters that Heise sent rom Leizig is that he studied diligently: over and above music theory, he devoted himsel to learning more and imroving his skill on both violin and iano, and he was eagerly engaged in the city s concert lie. What also becomes clear is that, during the irst months o his stay, he ully devoted himsel to his studies and did not comose anything o his own, with the excetion o the oening strains o a trio. 4 From this, it is ossible to deduce that, in addition to the irst string quartet, the second string quartet, which is dated 1852, was also comosed beore the sojourn in Leizig. O the last our quartets, only the last is indirectly dated, and this comes to light through a letter o 1857, where Heise writes: It is irst now that I am busy with [writing] a string quartet, the irst movement o which is inished, and I am very leased with this: it moves out rom G minor. Had I only been able as well to get hold o the third movement in this iece; this is what I m rosecting around or, these days. 5 In the same year, he married Ville, whose birth name was Vilhelmine Hage, and in December, he acceded to a osition as a teacher at Sorø Academy, where he was steadily emloyed until The last our quartets are accordingly connected with a eriod when he was once again taking art in the Coenhagen bourgeois musical lie. The inluence o Leizig can esecially be detected in the weight he attaches to the contrauntal crating. Already in the irst movement o String Quartet No. 1, he is laying with inversions o the theme; and in String Quartet No. 2, a theme in this quartet s slow second movement re-emerges in the closing movement. It is clear that, ormally seaking the ollowing quartets become both signiicantly longer and more ambitious, with slow introductory sections, with more contrasts and with wider luctuations in the modulations. When assessing Heise s string quartets in the light o music history, what needs to be taken into consideration is that these ieces were written with an eye towards the semi-rivate or semiublic bourgeois music ractice, where roessional musicians and highly qualiied amateurs, in ellowshi, were laying string quartets. Heise s string quartets, like a considerable ortion o the Euroean string quartet literature rom the middle o the 1800s, were written or use in this musical lie, consisting o both roessionals and amateurs, and the day s comosers were taking into account that the works ought to be able to unction in this musical culture and were not making any retence o being con- 1 Gustav Hetsch, Peter Heise, Coenhagen 1926,. 9 17, Edvard Holm, Minder ra min Barndom, in Mit Hjem (Nationaltidende). Coenhagen 191, Gustav Hetsch, Breve ra Peter Heise, Coenhagen 190,. 1 (letter to Edv. Holm, 2 November 1856). 4 Ibid.. 40 (letter to Victor Heise, 7 January 1857). The trio mentioned cannot be identiied. 5 Ibid.. 57 (letter to Edv. Holm, 17 January 1857). xii DCM 028

13 cert-hall music. Aart rom our concerts that were resented in its season, it was only rom 1854 that string quartets became a art o the Musikoreningen s [Music Society s] concerts in Coenhagen and consequently came to be an integral art o the ublic concert lie. Similarly, Kammermusikoreningen a 1868 [The Chamber Music Association o 1868], also known as Natmandsoreningen [The Night Men s Association], was the irst association in Coenhagen where string quartets constituted the central art o the reertoire. In Angul Hammerich s account o Musikoreningen s history (ublished in 1886), one reads that, around the 1840s, the string quartet layed the same role as does the iano nowadays. There was hardly any genuine musical bourgeois home that did not have its regular weekly quartet evening. 6 The context was accordingly a shared Euroean culture or laying string quartets, with Haydn, Mozart, Beethoven, Schubert and Mendelssohn making u the centre, but with a broader reertoire or use in the bourgeois music culture, a large ortion o which is today no longer art o the standard reertoire. Provenance All the source material is to be ound in Heise s collection, which arrived as a gathered entity at The Royal Danish Library ater Heise s widow, Ville Heise, died in The collection is registered in the Accession Protocol as having been taken into the library in Here, what is registered is a list o individual works and a number o ackages containing a number o manuscrits; however, the Accession Protocol does not seciically mention all o the incororated works. What are seciically mentioned are a ew ackages that contain a large number o manuscrits. What is esecially imortant is a ackage bearing the inscrition, P. Heise. gl. Noder tilh. Julius Holm / undet hos en Arkivar a Recke 1909 Aril / ikke gjennemsete [P. Heise, Old music material belonging to Julius Holm / ound, by Recke, in the ossession o an archivist, in Aril o / not examined]. Moreover, what has been added on the ackage, in encil, reads: Ungdomsarbejder, mest or Violoncel. NB ikke alt a Heise selv. [Works rom the comoser s youth, rimarily written or cello. NB: not all [o these were comosed] by Heise himsel.] The ackage included the scores or String Quartets Nos. 1-, bound together as a collection, as well as sets o arts or the string quartets numbered 2-6. This tells us several things about the quartets. First o all, the erormance material or the last ive o the string quartets has been in Julius Holm s ossession. As reviously mentioned, Julius Holm was a cellist and a close riend o Heise, who comosed a number o short ieces or cello and iano that were dedicated to Holm. We can read as a title, or examle, Once again, a new ditty, even ar more awul than the revious one, or ianoorte and violoncello. To my riend, J. Holm, rom P. Heise. 7 This could indicate that the arts were more likely to be ound in the Holm amily s collection o music than on the comoser s 6 Angul Hammerich, Musikoreningens Historie (Festskrit i Anledning a Musikoreningens Halvhundredaarsdag, vol. 2), Dk-Kk, C II, 7k, Heise s collection 86a. remises, and also that it was only ater Julius Holm s death that they were ound at what was, in all likelihood, an antiquarian booksho. It was rom here that these sets o arts ound their way back to Ville Heise in All these sets o arts bear distinct traces o being used. This strengthens the suosition that Heise comosed his string quartets with an eye towards how they would be layed within the situation context o this semi-rivate bourgeois musical lie. The ull scores or the irst three string quartets have also been contained in this ackage. Since it has evidently been lying around without being examined while in Ville Heise s ossession, we can surmise that, in all likelihood, it was Julius Holm who allowed the three dissimilarly sized manuscrits to be bound together. Everything indicates that this conjoining o the three quartets transired some time rior to the delivery o the material to the library, seeing as the binding does not bear The Royal Danish Library s rorietary mark. Secondly, the act that the ackage has not been examined evinces that these string quartets have not been in use or a long eriod o time. Thirdly, the remark, Works rom the comoser s youth, aarently inscribed without any closer insection o this material, can hel to exlain that the string quartets, in osterity s literature, have been considered as being less imortant works. The arts or the irst string quartet were contained in another ackage that bears the inscrition, Heises skrevne Noder ra ældre Tid, ikke trykkes, maaske helst brændes [Heise s music manuscrits o an earlier date, not to be rinted; erhas it would be reerable to burn these]. This remark, like those aearing on the above-mentioned ackage, is written in ink, and the wording serves to indicate that it might very well have been written by Ville Heise. She has been standing in a osition where she had a vested interest in saeguarding Peter Heise s reutation as a highly esteemed and roessional comoser, and there is hardly anybody else who was legitimately qualiied to oer ruminations on whether or not this music should be incinerated. Unlike the other sets o arts, the arts or the irst quartet were written out by Heise himsel and do not bear any distinct traces o use. It is accordingly imossible to determine whether or not this work has been erormed, even though it might be suosed that Heise, in the quartet-laying circles within which he moved around, was able at least to have the string quartet layed through. However, in contrast to the arts or the other quartets, the arts or this work were not included in Julius Holm s collection. Recetion Due to the semi-rivate character o the string quartet genre, it is not so very strange that there are no traces o ublic erormances o these ieces in Heise s lietime. They have not been on the rogramme at any known occasion in connection with any ublic concert during the nineteenth century. Nor in the irst art o the twentieth century are there any traces in the newsaers o ublic erormances o these works, but this is consistent with the act that the scores were not ublished and that they were simly not in ublic circulation in coies. The music has been with Julius Holm DCM 028 xiii

14 and with Ville Heise u until the time that it landed at The Royal Library in Coenhagen in It is here that the string quartets have been discovered in several turns and during the twentieth century, some o the string quartets have been erormed, although their erormance- and recetion-history has been limited. The irst quartet that had a ublic erormance was String Quartet No. 6 in G minor. This quartet was discussed, as mentioned reviously, in Heise s letters, which were ublished in 190, and it was in resonse to reading this account that Richard Hove eventually ound all six quartets at The Royal Danish Library. Hove was an imortant igure in Danish musical lie, wherein he worked indeatigably to disseminate knowledge about Danish comosers music. In 191, he took the trouble to ensure that the Thorvald Nielsen Quartet ut String Quartet No. 6 on its rogramme at a concert held on November, at the Thisted Music Association. At the event, the musicians also layed Kuhlau s only string quartet and a string quartet by Carl Nielsen, who had died shortly beore the concert. Hove himsel wrote a reatory comment in advance o the concert in the Thisted Amtsavis: With a surrising gras on writing elegantly or the string instruments, he, with genuine Heise ian melodiousness, orms his very own chamber music style, which has the qualiications or contributing to a whole new assessment o his osition in Danish music history. [...] The Thisted Music Association will accordingly come to exerience Heise s [ublic] debut as a string quartet comoser 52 years ater his death. 8 Ater this event, the Danish Broadcasting Cororation took over as the main actor: a rogram was resented wherein the Erling Bloch Quartet l ayed the sixth quartet, announced as the 1. Gang [Premiere]. The erormance was broadcast on the radio on 10 Setember 1945, in a rogramme entitled The Danish String Quartet, and on 22 October, the erormance o the work was reeated at a concert in the Odd Fellow Palace. In Nils Schiørring s review, the ocus was aimed once again at the rediscovery: It has recently been rescued rom oblivion at The Royal Library in Coenhagen and was revealed as a slendid iece o music, resh and dashing, with imosing musical sueriority and immediately smiling in its musicality. 9 Similarly, what aeared in Berlingske Tidende was this comment: It is a moving and vibrant iece o music, brilliantly crated in its orm and in its treatment o the our string layers. 10 The radio ollowed u with urther erormances. On 7 February 1955, the Erling Bloch Quartet layed the sixth string quartet again, and on 9 Aril, it was the String Quartet No. in B major that had its turn. Ten years later, on 9 August, it was the Mogens Brendstru Quartet that layed String Quartet No. 6; and on 12 July 1968, this same ensemble layed String Quartet No. 4 in 8 Richard Hove, Thisted Musikorenings ørste Koncert, Thisted Amtsavis, 0 October 191. The same article aeared in Thisted Amts Tidende on the ollowing day, and in the very same newsaer, one could read a review o the concert resented on the night beore. 9 N. Schiørring, Erling Bloch-Kvartetten, Nationaltidende, 2 October J.J. [Jørgen Jersild?], Fornem Kvartet-Aten, Berlingske Tidende, 2 October C minor (a erormance that was re-broadcast two years later). In 1972, the Villy Kær Quartet ut this iece on their rogramme, in connection with a broadcast on 28 March, and in 198 this same quartet could be heard on the rogramme Hvoror hører man aldrig? [Why Do You Never Hear?]. 11 Again in 1980, the C minor string quartet could be heard on the radio. 12 To be sure, a ew more erormances have turned u in the Danish concert lie: recently, or examle, the Coenhagen String Quartet has included String Quartet No. 4 in its reertoire, 1 but u until now there have resumably been only three o the quartets or which art materials have been in circulation; o course, this has rendered it so that these ieces have been in existence in ublic musical lie. 14 Heise s notational ractice It is interesting to see how the manuscrits relect the day s culture or laying string quartets, and how they simultaneously relect Heise s develoment towards becoming an increasingly sel-conscious comoser. In the irst our quartets, the scores are elaborated in such a way that oten, dynamics are indicated in only one o the voices whereas, uon writing out the arts, the dynamics are seciied in several, or sometimes all, o the arts. This has accordingly been a convention that the coyist knew and areciated. However, it is oten so, esecially in the irst quartet, that dynamics are only written out in some o the arts, and esecially in the cello, dynamics are sarse. This is not a maniestation o Heise s lack o exerience or exertise, but rather o a dierent kind o ractice or laying quartets, where it was, to a greater extent, the ensemble s laying more than it was the written indications in the scores that steered the dynamics. Whenever the irst violin or some other rominent voice shited dynamic level, the other musicians ollowed suit, without this having to be noted exlicitly. Also in another resect, the manuscrits relect an older notation- and erormance-ractice. This is borne out esecially in the laces where Heise makes use o dynamic indications to bring a moti into relie. He makes use, or examle, o reeated crescendo wedges in order to highlight a igure, with the result that the dynamic indication instead takes on the character o exressive indication that is commensurate with esressivo. This is made evident by the context, where reeated dynamics in one art ought not to be read as a steady increase or decrease in the degree o loudness, in contrast to the other ones. In these laces, Heise s notational ractice has been retained, even though it is not revalent in modern notational ractice. In his last two quartets, Heise changes ractice so that, in the ull score, he generally writes out dynamics in all the voices, and 11 Program inormation rom the Danish Broadcasting Cororation s white rograms, i.e. the broadcasting cororation s archive o rograms, with corrections that were entered whenever there were changes in the reviously announced rogram. 12 C-n., En dejlig Heise-udsendelse, Jyllands-Posten, June C. sub-age: Reertoire. 14 However, the bar numbers introduced by encil into the arts or String Quartet No. 2 could suggest that a coy o the arts was also made or this quartet. xiv DCM 028

15 he exects that the coyist will accordingly write out these indications in all the arts. This might serve to relect both a transormation that was haening in the culture o the string quartet and Heise s increasing awareness o himsel as a roessional comoser. On the one hand, string quartets are on their way towards becoming a more ublic genre, and on the other hand, Heise is, to a greater degree, comosing or a ublic where the sheet music is otentially going to be distributed, also, to circles outside the comoser s comass and thereore needs to be urnished with a more exlicit orm o notation. In other words, it is conceivable that he, by this time, has had the ublication o the ieces in mind. Heise s style o writing relects his intimate knowledge o laying string quartets. He has a strong sense o thematic workmanshi and o the means and eects indigenous to the quartet s ensemble lay while, at the same time, he has his eye trained on creating variations and alternations in the acoustic icture. Uon the reaearance o a assage, he oten switches instruments, and one can see, in a number o cases, that he has initially written out a note-by-note reetition and subsequently altered the design in its details, in order to give rise to variation. In much the same way, his rerises are oten concentrated in relation to the exositions. This is why, in the resent edition o these works, reeated assages have not been standardised unless it is clear that what is being sought is an identical assage, as oosed to a varied reetition. Revision strategy The irst quartet is distinctive in the sense that Heise himsel has written out both the ull score and all o the arts. Uon writing out the arts, he has been working urther on the dynamics and the details in the elaboration, with the result that, in this case, it is the arts that contain the most comlete and most recent version issuing rom Heise s hand. For this reason, the arts in this articular work have served as the main source. In the other quartets, however, Heise has allowed the arts to be coied rom the ull score by a coyist. In these cases, it is Heise s ull score that has served as the main source or the resent edition. Whereas Heise is using an older notational ractice, such as that which dictates, normally, that the dynamics imlicitly aly to all o the voices, unless there is something that seciically contradicts this, the resent edition o these works has standardised this aroach so as to conorm with modern notational ractice: with dynamics indicated in all the voices. The same alies to Heise s ractice that articulation, or examle, staccato, is indicated only at the outset o a assage and erhas only in one single art. Emendations o this sort are made evident and accounted or in the revision reort. All content-related dierences in secondary sources regarding slurring, itch and duration, and articulation are included as variants in the revision reort, along with diverging or additional dynamics. The absence o dynamic indications in a secondary source is not seciied here. Modernizations o a notational kind, o slurs, o beams, and o orthograhy that does not involve any meaning-related dierences have all been made tacitly. Even so, Heise s use o beams is generally ollowed, and where seciic distinctive slurrings are considered to be signiicant, these have been retained. When Heise writes out the cello art in the treble cle, he is notating an octave above what is modern ractice; this has been changed so as to conorm to contemorary ractice. DCM 028 xv