Klarinet Archive - Posting 000722.txt from 1999/02

From: chr <chr@-----.de>
Subj: Re: [kl] Here's a hard one - Andre Publisher
Date: Thu, 18 Feb 1999 13:10:05 -0500

Sorry this reply has not been sooner, but I took quite ill over the last
few days.

I will compare, as an example, the articulation differences of etude (or
piece) number 10 of the Carl Fischer (Carl Baermann's Complete Celebrated
Method For the Clarinet, rev. by Gustave Langenus - second division) and
David Hite (as publ. in "Melodious and Progressive Studies Book 1)
editions against the Johann Andre (Baermann Klarinettenschule, Erster
Teil, Opus 63, Ed. 502B) edition, which, as explained in an earlier
posting, is highly likely to be Baermann's original intention, as far as
musical text and articulations are concerned.

Piece 10 (Hite 1): In bars 1, 5, 6, 9, 52 Langenus and Hite omit the
staccato on the last eighth note (which is the last note of a slur). In
German romantic music these notes (end of slur with staccato dot) would
be portato tongued (with a very delicate tongue) as opposed to being
slurred and shortened as would be the case in 20th century music. In
bars 19-21 the original text has slurs over groups of 3 eighth notes, the
last note of each group also having a staccato. These would be
interpreted as described above. Both Hite and Langenus seemed to have
realized this to a certain extent. Langenus places slurs over the first
two notes of each group of three, with a staccato over the second note.
Additionally he places a slur over all three notes of each group (above
the aforementioned articulations with a staccato over the third note.
This is confusing and contradictory with regard to how the 2nd and 3rd
eighth notes are to be handled in regard to articulation. Hite comes
closer by slurring the first two notes of each group of three and
indicating nothing over the third. But this is only approximately the
same (and Baermann was never "approximate" when it came to
articulation!). A careful player will differentiate in both tongue and
airstream between the two.

Similar omissions and changes as those described above are present in
almost all the other pieces. For this reason it is certainly advised to
use the Andre edition. Piano accompaniments are also available, making
performance of these fine pieces possible.

If what I wrote is not clear or if additional comparison in other pieces
is requested please let me know.

Don Christensen

>Date: Sun, 14 Feb 1999 15:15:39 -0600
>To: <klarinet@-----.org>
>From: "Steven J Goldman, MD" <gpsc@-----.com>
>Subject: RE: [kl] Here's a hard one - Andre Publisher
>Message-ID: <000001be585f$2da862a0$4e972499=notebook-1>
>
>Would you expand on the specifics of this articulation. My knowledge of
>historical articulation thins out severely by 19th C.
>
>Steve Goldman
>Glenview, IL
>
>sjgldman@-----.com
>
>-----Original Message-----
>From: chr [mailto:chr@-----.de]
>Sent: Sunday, February 14, 1999 8:35 AM
>To: klarinet@-----.org
>Subject: Re: [kl] Here's a hard one - Andre Publisher
>
>...Unfortunately, the Fischer edition and
>the Hite version have simplified the articulation likely based on a
>fundamental misunderstanding of portato articulation in the late classic
>and romantic middle-European music for wind instruments....
>
>Street address:
>Johann Andre, Musikverlag
>Frankfurter Str. 28
>63065 Offenbach
>
>P.O. Box address:
>Johann Andre, Musikverlag
>Postfach 101331
>63013 Offenbach
>
>Phone: +49-69-813539
>Fax: +49-69-815339

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