Introduction

Table of contents

J.P.E. Hartmann (1805–1900) was a beacon of light in Danish musical life throughout most of the nineteenth century. He was born when Haydn, Beethoven and Schubert were still alive, and when he died Gustav Mahler and Arnold Schönberg were starting their careers. From his earliest years as a composer he was inspired by his contemporaries and took a keen interest in developments until his death. His first surviving work is dated ‘New Year 1820’, and the final one, music to accompany the new ritual for the consecration of bishops and ordinations, is end-dated ‘7 January 1899’.

This catalogue of J.P.E. Hartmann’s works (HartW) is the first thematic-bibliographic catalogue of his complete works, though brief lists were compiled during his lifetime and during the twentieth century. In 1870, Axel Liebmann (1849–1876) published a catalogue of the works composed between 1825 and 1870.1 Musik-Tidende, 2/7 (July 1870).  It was divided into compositions with the opus numbers 1–69 and those without opus numbers up to and including Hilsen til Norge HartW 169; it only lists titles and instrumentation. On the occasion of Hartmann’s eightieth birthday in 1885, a similar catalogue appeared in a special issue of Musikbladet.2 Musikbladet, vol. 2, nos. 19–20.  The compiler of this catalogue is anonymous. In 1916, Angul Hammerich published his J.P.E. Hartmann. Biografiske Essays tillige med en Studie over Melodien til ‘Kong Christian stod ved højen Mast’, which also contains an overview of Hartmann’s works. According to the foreword, the material was made available by Hartmann’s grandson, the barrister Godfred Hartmann (1874–1956). Like its predecessors, this catalogue is divided into works with and without opus numbers. The latter group is subdivided into seven categories: A. Larger Works; B. Works for Choir; C. Piano etc.; D. Songs; E. Organ; F. Hymns and Sacred Works; and G. Miscellaneous. For Richard Hove’s J.P.E. Hartmann (1934) the music bibliographer and head of department, Alfred Nielsen, prepared a systematic catalogue subdivided into eleven categories: I. Operas; II. Plays and Ballets; III. Orchestral Works; IV. Cantatas and Larger Works for Choir; V. Polyphonic Songs and Smaller Works for Choir; VI. Unison Songs (with Piano); VII. Spiritual Songs; VIII. Piano Pieces for Two and Four Hands; IX. Chamber Music for Two or More Instruments; X. Melodramas; and XI. Organ. In addition, the later head of The Royal Library’s music department, Svenn Lunn (1903–1969), prepared a chronological catalogue and an alphabetical list of song titles and first lines. Finally, in 1991 the music antiquarian Dan Fog (1919–2000) published his Hartmann-Katalog. Fortegnelse over J.P.E. Hartmanns trykte kompositioner. As the title indicates, the catalogue only includes printed works, though he does include manuscripts in an introductory list; the main section, however, comprises detailed bibliographical information on all printed works. Those listed in the catalogue are numbered from 1 to 228. Most of the numbers include a single musical work as for instance ‘Sonate Nr. 1 i g-mol for violin og klaver, Opus 8’ (DF 1). Later numbers, however, may also include publications such as ‘Romancer og Sange Afdeling 1-3’ (DF 215) and hence the same song may appear under several different numbers. One example is ‘Giv Tid’ (I Sne staar Urt og Busk i Skjul), which has been assigned the numbers 163, 215:11 and 219:56. Since the DF-numbers are often quoted they have been included in the present catalogue (under ‘Identification’) on a par with HartW numbers and opus numbers.

HartW constitutes the third and final part of the research project which the present author initiated in the 1990s and which so far has resulted in J.P.E. Hartmann og hans kreds. En komponistfamilies breve 1780-1900. Udgivet med indledning og noter af Inger Sørensen (Copenhagen: The Royal Library & Museum Tusculanums Forlag, 1999, 2002), vols. 1–4, and the biography Hartmann. Et dansk komponistdynasti (Copenhagen: Gyldendal, 1999).

The source material

Hartmann’s Collection

In 1890, ten years before his death, J.P.E. Hartmann wrote his testament, concluding that: ‘I wish – as far as my unpublished scores are in my possession and as far as the main works are concerned – that they are to be handed over to the King’s Library. I would be much obliged if my heirs, through counsellor Bruun,3 Chr. Bruun (1831–1906), head of The Royal Library 1863–1901.  may receive something for them or for the entire collection. Before the scores are handed over to the King’s Library, the musical societies and others must be permitted to make copies of those of my scores to which they own the part material’. 4‘Mine utrykte Partiturer ønsker jeg, forsaavidt de ejes af mig, i det Mindste hvad Hovedværkerne angaar, at skulle leveres til Kongens Bibliothek; kan mine Arvinger gjennem Justitsraad Bruun faae Noget derfor, eller for Forlaget i det Hele, skal der være mig kjært. – Før Partiturerne indleveres til Kongens Bibliothek, skal det være indrømmet de musikalske Foreninger og andre som ønsker det at tage Afskrift af de af mine Partiturer, hvortil de eje de skrevne Stemmer’; DK-Kk, NKS1479 8o.  Hartmann’s youngest son, the barrister Frederik August (Frits) Hartmann (1843–1908), therefore approached the library in May 1902 asking whether they would receive his ‘late father's, professor dr. phil. J.P.E. Hartmann’s manuscripts [...] according to the catalogues which are submitted together with the manuscripts.’5‘modtage til Opbevaring min afdøde Faders, Professor dr. Phil. J.P.E. Hartmanns efterladte Manuscripter, […] efter Fortegnelser, som skulle følge med Manuscripterne samtidig med Afleveringen’; letter dated 31 May 1902; DK-Kk, The Royal Library’s archives, A9, kapsel 17 sag 1986.

Appended to the donation was the provision that the ‘manuscripts may not be loaned out but must be consulted in the library according to the current rules for the lending out of manuscripts’.6‘Manuscripterne ikke maa udlaanes undtagen paa selve Bibliotheket efter de for Udlaan af Manuscripter i Almindelighed gjældende Regler.’  The library accepted the terms, of course, and Frits Hartmann prepared the two promised catalogues. The first, dated 31 May 1902, was enclosed with the manuscripts, and in a letter dated 2 June 19027 DK-Kk, The Royal Library’s archives, A 9, Kapsel 17, sag 1886.  the head librarian, H.O. Lange (1863–1943), thanked Frits Hartmann for ‘such a valuable expansion of the national music collection’.8'en saadan værdifuld Forøgelse af den nationale Musiksamling'; letter from H.O. Lange, dated 2 June 1902; DK-Kk, The Royal Library’s archives, A9, Kapsel 17, sag 1886.   Later this was followed by another catalogue dated 2 September 1902.

Not everything was handed over at this time, though, and in 1934 Frits Hartmann’s son, barrister Godfred Hartmann, presented the Library with a packet of manuscripts, and since then other descendants of J.P.E. Hartmann as well as acquaintances have handed over manuscripts. Some music publishers also owned Hartmann manuscripts. In 1903–04, the music historian and publisher S.A.E. Hagen (1842–1929) – who had owned Horneman & Erslevs Musikforlag – presented a series of manuscripts among which were some of Hartmann’s. In 1996, when the Danish Commission on the Export of Cultural Assets acquired the archives of the music publishers Wilhelm Hansen, which were handed over to The Royal Library the following year, it turned out that it, too, contained a large number of Hartmann manuscripts. Among these works were the overture and act one of ‘Liden Kirsten’ (though a transcript, as the autograph had gone up in flames) which was believed to have been lost. The Royal Library has continued to acquire manuscripts that were in private ownership at the time of Hartmann’s death.

The structure of the entries

The work concept

The main catalogue comprises compositions that are complete in structure even though they may not necessarily be so in detail. Fragments of compositions which, so far as is known, were never completed, arrangements of other composers’ works, doubtful compositions and compositions that have been lost have all been placed in the appendix.

Songs, choral pieces and instrumental interludes which are part of a larger scenic context, like the hunters’ choir section (‘Snart er Natten svunden’) in Syvsoverdag HartW 14, are not considered independent pieces and have therefore not been assigned a HartW number.

Songs and choral pieces that are part of a collection, irrespective of whether the collection only includes songs by Hartmann (Sex Sange af B.S. Ingemann, Opus 45 HartW Coll. 04 ) or whether they were published in a broader context with works by other composers (Sange for Studenterforeningen), have been registered as individual works and assigned a HartW number. Cyclical works such as Sulamiths og Salomons Sange, HartW 355, are exceptions. The same principle has been employed for collections of piano pieces originally conceived as individual works (Tre Klaverstykker, opus 38, HartW Coll. 03 ). An outline of the collections’ contents with an indication of the most important common information has been placed in the final part of the appendix.

In those instances where a melody of Hartmann’s has been used to various texts, the more recent texts are listed with the alternative title under the main entry number (Birkedals Sølvbryllup / Hil Dig! Vor Fane, HartW 395 ). Arrangements of a composition are not defined as independent works and are therefore placed under the same HartW number (for example, the orchestral suite consisting of pieces from Thrymskviden, HartW 8 ).

Identification

In addition to the HartW numbers, the opus numbers, those of the Hartmann Edition (JPEW), and the numbers in Dan Fog’s Hartmann-Katalog (DF) are also given.

Work titles

The title appearing in the first printed edition is employed as main title in the catalogue. Regarding unpublished works, the main title is that of the autograph or, if that has not survived, the transcript (or transcripts) that document the work’s existence. All significant titles are reproduced in the source’s original language (Sechs Tonstücke in Liederform, HartW 76 ) while titles designating a genre are given in standardized form (Sonate for klaver i a-mol, HartW 119 ). If an instrumental work does not carry any title, the tempo marking (Allegro moderato, HartW 108 ) is employed, while the text's first line is used for vocal works (Himmelske Lyd! som en Engel med Vinger, HartW 141 ). Works which include incidental music are provided with titles such as Musik til Adam Oehlenschlägers Tragedie Olaf den Hellige, HartW 11, as otherwise the title would refer to the play or drama. In those instances where a work with a Danish title originally also included a title in German, English or French, these are reproduced. Subtitles are only provided if they appear in the sources; new ones have not been construed for works without them. In those instances where a work has several different variants of the main title – typically if the title in a printed edition is different from that of the autograph manuscript (Koncert-Indledning komponeret for Solo, Kor og Orkester af Chr. Richardt og ‘ Indledning’ ved Indvielsen af Universitetets Solennitetssal Marts 1866, HartW 168 ) – these are listed as variant titles. First lines of songs are also given as variant titles.

Instrumentation and incipits

If a work appears in different instrumentations, this has been reported under each version. The incipits in HartW comprise the first bars of the composition’s main sections (movements, scenes, etc.) with an indication of instrumentation and the work’s or the section’s total number of bars. The incipits provided for some of Hartmann’s early works employ different clefs to those he used. The repeat signs have been omitted in those cases where the passage to be repeated is longer than the incipit. Where a vocal work begins with an extended instrumental introduction, then the introductory bars are included as well as the beginning of the vocal passage.

Sources

The list of sources only registers those sources – manuscripts as well as printed editions – from Hartmann's own lifetime. Each source has a descriptive heading noting the type of source, for example, ‘Score, autograph, fair copy’. If ‘autograph’ is indicated without further explanation it is J.P.E. Hartmann's; however, another name (for example, ‘autograph (G.C. Bohlmann)’), naming the person who carried out the copying or instrumentation for Hartmann, may also be provided. The source descriptions are detailed as no complete practical-scholarly edition of Hartmann's works has yet appeared. So far only a selection of his works has been published in modern critical editions, where such descriptions usually are found. The dating of Danish printed sources is drawn from DF while Hofmeister9 http://www.hofmeister.rhul.ac.uk/2008/index.html  has been employed for foreign printed sources.

The work's history

Information on the work's history includes a brief summary of the work's genesis and date, if this is known, and a list of performances during Hartmann's lifetime as well as reviews where possible. Information on performances has largely been found in the digitized newspapers in the database, Mediestream;10 http://www2.statsbiblioteket.dk/mediestream/avis  since the number of digitized newspapers is constantly expanded, the listed details only represent a selection. The dating of the works is based on Hartmann's own indications in the autograph scores or those copies which he authorized; if these have not survived, the date of publication has been employed for those works that were printed.

Bibliography

The bibliography is divided into two parts: letters, and a select bibliography arranged in chronological order. The correspondence is divided into letters to and from J.P.E. Hartmann and letters from others that document aspects of the work’s history.

Numbering

HartW is arranged according to genre as follows:

Stage music
Opera (HartW 1–3)
Ballet (HartW 4–9)
Incidental music (HartW 10–24)
Melodrama (HartW 25–27)

Instrumental music
Symphonies (HartW 28–29)
Other orchestral music (HartW 30–48)
Chamber music (HartW 49–62)
Music for one instrument
Piano (HartW 63–128)
Organ (HartW 129–135)

Vocal music
Music for vocal soloists with instruments,
with or without choir
(HartW 136–184)
Choral music with instruments (HartW 185–227)
Choral music a cappella
Mixed choir (HartW 228–267)
Male choir (HartW 268–319)
Voices in unison (HartW 320–322)
Songs
For one voice (HartW 323–505)
For two voices (HartW 506–510)

Within each category the works have been arranged chronologically whenever possible. In most cases Hartmann's autographs have been dated. For the chronology, end-dating has been used. In those instances where the autograph has not been dated, or where the autograph has not survived, the first edition’s year of publication has been employed. Works for which it has not been possible to give an approximate date using other sources, such as letters and newspaper reviews, have been placed at the end of each category.


Appendix
A Incomplete works (HartW A 01–14)
B Arrangements of other composers' works (HartW B 01–37)
C Doubtful works, and works that have been lost (HartW C 01–05)
D Not considered a work (HartW D 01)
 
Collections (HartW Coll. 01–23)



[1] Musik-Tidende, 2/7 (July 1870).

[2] Musikbladet, vol. 2, nos. 19–20.

[3] Chr. Bruun (1831–1906), head of The Royal Library 1863–1901.

[4] ‘Mine utrykte Partiturer ønsker jeg, forsaavidt de ejes af mig, i det Mindste hvad Hovedværkerne angaar, at skulle leveres til Kongens Bibliothek; kan mine Arvinger gjennem Justitsraad Bruun faae Noget derfor, eller for Forlaget i det Hele, skal der være mig kjært. – Før Partiturerne indleveres til Kongens Bibliothek, skal det være indrømmet de musikalske Foreninger og andre som ønsker det at tage Afskrift af de af mine Partiturer, hvortil de eje de skrevne Stemmer’; DK-Kk, NKS1479 8o.

[5] ‘modtage til Opbevaring min afdøde Faders, Professor dr. Phil. J.P.E. Hartmanns efterladte Manuscripter, […] efter Fortegnelser, som skulle følge med Manuscripterne samtidig med Afleveringen’; letter dated 31 May 1902; DK-Kk, The Royal Library’s archives, A9, kapsel 17 sag 1986.

[6] ‘Manuscripterne ikke maa udlaanes undtagen paa selve Bibliotheket efter de for Udlaan af Manuscripter i Almindelighed gjældende Regler.’

[7] DK-Kk, The Royal Library’s archives, A 9, Kapsel 17, sag 1886.

[8] 'en saadan værdifuld Forøgelse af den nationale Musiksamling'; letter from H.O. Lange, dated 2 June 1902; DK-Kk, The Royal Library’s archives, A9, Kapsel 17, sag 1886.

[9] http://www.hofmeister.rhul.ac.uk/2008/index.html

[10] http://www2.statsbiblioteket.dk/mediestream/avis