Klarinet Archive - Posting 000224.txt from 2003/02

From: "Raycraft" <raycraft@-----.com>
Subj: Re: [kl] Castelnuovo-Tedesco Question
Date: Sun, 9 Feb 2003 12:11:26 -0500

Or, we could just skip the "rigorous scholarship" and get on with life...
Sue

----- Original Message -----
From: "Mark Charette" <charette@-----.org>
Subject: RE: [kl] Castelnuovo-Tedesco Question

> An interesting article showing the difficulty in determining the "critical
> edition" of a piece is in "Carl Maria von Weber's Clarinet Concertos - A
> Challenge for the Editor and the Clarinetist" by Frank Heidlberger in the
> December 2002 edition of "The Clarinet".
>
> Heidlberger presents us with the difficulties in establishing the
"critical
> edition" - it does not necessarily mean that the autograph(s), first
> edition, or subsequent editions are in fact the "critical edition", but
all
> must be weighed against other factors. He presents a short table in the
> magazine:
>
> -------
>
> How to Make a Critical Edition
>
> - Examination and determination of authentic / non-authentic sources
>
> - Comparative description of the sources: dependence / relationship
>
> - Definition of a primary source: this source will be the main score of
the
> edition
>
> - Creation of the main score with marked additions from other authentic
> sources and/or from the editor (...)/[...]
>
> - Compilation of a critical report: shows differences between authentic
> sources, verifies decisions of the editor, describes problematic details
of
> the main score
>
> -------
>
> This is apropos in the C-T case; without some rigorous scholarship
involved
> the substitution of one note vs. another, even where it might seem
trivial,
> is indeed not a trivial matter. As Tony Pay pointed out, it changes the
form
> of the music in some other not-so-subtle ways.
>
> Mark C.
>
>
> ---------------------------------------------------------------------

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