Klarinet Archive - Posting 000103.txt from 2000/07

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] Mozart Concerto editions
Date: Mon, 3 Jul 2000 14:19:14 -0400

There are no good editions because no one knows what Mozart wrote, and
therefore, every edition contains too much editor and not enough
Mozart.

But, Ernst Hess did as little as possible in constructing his edition
and for that I thank him. It is the Barenreiter edition and even that
has too much romantic influence.

Richard Bush wrote:
>
> Dear Daniel,
>
> Since I respect you, what edition, if any, gets your nod of approval for K. 662?
>
> Daniel Leeson wrote:
>
> > Well, if we are speaking about the Bellison edition of K. 622, I agree
> > that it is a particularly poor one, not only in light of current
> > scholarship (for which Bellison can not be faulted) but also in terms of
> > both his dynamic and phrasing choices which were very uncharacteristic
> > of music from the late 1700s. It was the first edition of the piece I
> > ever saw and, at the time, I was so crazy about the work that it didn't
> > matter who edited it, but it really has no place in today's editions of
> > that piece.
> >
> > As for the old B&H, I suspect that it is not correct to suggest that it
> > was edited in 1907 by Henri Kling. The edition is (or is supposed to
> > be) an exact copy of the B&H Alte Mozart Ausgabe which began publication
> > in 1875 and was finished by 1900. So if Kling did do a completely
> > different edition than the volume of the AMA that would be strange. As
> > far as my records of the editors of the AMA show, Kling was not among
> > them. Incidentally Johannes Brahms was!
> >
> > As for the trio di clarone editing the piece for the new B&H edition, I
> > would stay as far away as possible from any work edited by three people,
> > if that is what happened. The fact that all three are excellent, even
> > wonderful players has nothing to do with it. Thus far, none of them
> > have demonstrated credentials to be an editor on this work. What they
> > did was to produce an edition that they like or that they play (really
> > an editorial concensus of some sort) but that is the LAST way to produce
> > an edition of K. 622.
> >
> > It is a common belief that editions produced by very good players must
> > be very good editions. Wrong! And seriously so, though they might be.
> > What a good player brings to this piece are not the same things that a
> > knowledgeable editor brings to this piece.
> >
> > Sabine Meyer showed how little she knows of the period or how little
> > respect she has for a composer's judgement when she recorded the Gran
> > Partitta with a contrabassoon.
> >
> > Dan Leeson
>
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--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

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