Klarinet Archive - Posting 000611.txt from 1996/11

From: Fred Jacobowitz <fredj@-----.edu>
Subj: Re: Schumann: ambiguous notation
Date: Thu, 28 Nov 1996 12:12:00 -0500

Hey all,
Let's not start debating between two copies. Go and buy the
Urtext edition (Unedited, except by the composer or, in some cases,
learned musicologists). That way you'll at least have what the composer
originally wrote and not what some yutz of a copyist (or, occasionally,
well-meaning-but-musically-opinionated editor) may have grafted onto the
music. International and Cundy-Bettony (now known as Carl Fisher) are
notorious for using very old
editions which have all sorts of inaccurate markings which were inserted
by editors who were often the big-time performers of the day but now are
considered to be musically uneducated. For example, the Cundy version of
the Mozart Concerto, edited by Simeon Bellison, complete with three-line
cadenza in the style of Cavalini and more hairpins than Mozart ever used
in his whole lifetime. No insult to Bellison, who was a fabulous player,
but he was just putting in what HE played and what was done in his time.
We know differently now.
After you've bought the Urtext (it's worth it, trust me, if you
want to be a faithful interpreter) you will probably have many fewer
questions.

Fred Jacobowitz
Clarinet/Sax Instructor, Peabody Preparatory

On Wed, 27 Nov 1996, Ward Cheney wrote:

> >
> > Lorne G. Buick has written as follows:
> > >
> > > Hi all. I am currently rehearsing Schumann's Marchenerzahlungen (Fairy
> > > Tales) (for clarinet, viola and piano) for a concert this weekend and we
> > > have a question about the trills and nachschlags (turns at the end of
> > > trills) in the first movement. Some of the trills are written with
> > > nachschlag, and with a sharp above the trill sign (presumably indicating
> > > that the upper note of the trill is to be raised, making a whole-tone tril
l
> > > instead of a semi-tone). Some however have no nachschlag, but a sharp
> > > _after_ the trill sign. If the sharp is meant to apply to the trill, this
> > > results in some cases in an augmented second, which sounds very odd. Does
> > > this mean the sharp is meant to apply to the (unwritten) nachschlag? If so
,
> > > why didn't he just write the nachschlag? Is there some other possibility
> > > I'm overlooking?
> > >
> > > Perplexed in St. John's
> > >
> > > LGB Lorne G Buick St. John's
> > > lgbuick@-----.net Newfoundland
> > --------------------------------------------------------------------------
> > Dear Lorne,
> >
> > I have 2 different editions of March....., one from International
> > and the other from Cundy-Bettoney. In the latter, I see:
> >
> > meas. 8 trill e to f, with grace notes d-sharp, e-natural.
> >
> > meas. 30 trill e to f-sharp, grace notes d-sharp e-natural
> >
> > meas. 46 trill b to c, grace notes a-sharp b-natural
> >
> > These sound right to me, and in my other copy (IMC) I long ago
> > penciled out what didn't conform to my Cundy-Bettoney edition.
> >
> > That's not an authoritative answer. But notice that the pattern is
> > the same in all three trills. That is evidence in support of
> > the C-B edition.
> >
> > I am posting this to the net, as it may be of general interest.
> >
> > Ward Cheney (cheney@-----.edu)
> >
>

   
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