Klarinet Archive - Posting 001335.txt from 1999/03

From: Mark Gustavson <mgustav@-----.com>
Subj: Re: [kl] mistakes
Date: Fri, 26 Mar 1999 09:36:17 -0500

Tony-
Bravo!
Since you mentioned the "Trio Clarone", I would like to know if you are
familiar with their Breitkoepf edition of Mendelssohn's op.113. I get the
idea from the preface of the score that they did research on the piece but
is this edition correct. There are many editorial corrections in the
parts. I'm asking because I'm performing the orchestra version next year.

Mark Gustavson

Tony Pay wrote:

> On Fri, 26 Mar 1999 07:36:18 -0500, charette@-----.org said:
>
> > What is "right" can be, and is, a complex issue, and there's the
> > possibility of more than one "right" edition.
>
> What makes me more angry is when editions destroy the questions left
> open by what the composer wrote, answering those questions in a way that
> blocks any answers that conform to a different playing style.
>
> I'm thinking of, say, Reginald Kell's edition of the Mozart concerto,
> and (a recent experience) Drucker's of some Weber piece.
>
> For example, coupling editorial hairpins with a change of the composer's
> slurs has led to more than a century's-worth of misunderstanding of
> classical phrasing, undermining our awareness of the classical style.
> Quite often such changes do much more damage than printing different
> notes, because classical music often isn't very sensitive to the actual
> notes, as the habit of embellishment shows.
>
> And anyhow, the composer has sent what amounts to a love-letter down
> the years to players of our instrument:-)
>
> How would you feel if someone intercepted a love-letter addressed to
> you, thought it would be better some other way, and deliberately changed
> it *without letting you know*? And, moreover, did it mainly to enhance
> their own prestige and earn money?
>
> Well, how *do* you feel? Because that's what they did, and still do,
> some of them.
>
> Who cares, for example, what crescendos and dynamics the 'Trio Clarone'
> think we should do in the Mozart concerto? Yet students can't help
> reading their ideas in the clarinet part of the Breitkopf edition, even
> if they are printed within (very tiny) brackets. And quite apart from
> the presumption of including them, they're not even crescendos and
> dynamics that are intelligently related to the orchestral accompaniment.
>
> It was worse in the past, of course. How about Alamiro Giampieri, who
> wrote on the Ricordi edition of the same concerto that it was
> "obligatory to include his name as editor on the programme as well as
> Mozart's whenever the piece was performed from the Ricordi material?"
>
> Having been asked, and having refused, to produce such 'personalised'
> editions of clarinet music myself, I blow raspberries to these guys.
>
> Who the hell do they think they are?
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd Tony@-----.uk
> | |ay Oxford OX2 6RE GMN family artist: www.gmn.com
> tel/fax 01865 553339
>
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