Klarinet Archive - Posting 001426.txt from 1999/03

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] mistakes
Date: Mon, 29 Mar 1999 03:12:41 -0500

At least Giampieri wasn't hiding his (mis)deeds.
Roger S.

On Fri, 26 Mar 1999, Tony Pay wrote:

> Date: Fri, 26 Mar 1999 13:25:03 GMT
> From: Tony Pay <Tony@-----.uk>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] mistakes
>
> 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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