Klarinet Archive - Posting 000407.txt from 2004/04

From: "Karl Krelove" <karlkrelove@-----.net>
Subj: RE: [kl] Checking the clarinet part with the piano score
Date: Sun, 25 Apr 2004 14:14:56 -0400

Your last example raises a related point, though: what goes into the
decision about which is correct?

In cases where there are note (pitch) discrepancies, obviously you get a lot
of help from the accompaniment. What is the chance in the case of those last
5 measures of the Bernstein movement that the crescendo was lost in
condensing the layout of the piano part? Or that the crescendo in the
clarinet part was (sloppily) engraved too long (intended to take only one
beat) and the p at the end is simply misplaced because of it? The part and
the accompaniment score agree that the tied pick-up to the alla breve is ppp
and by the end of the measure the clarinet is p. The only point of
difference is whether there is a crescendo or a subito change and if there
is a crescendo, where it is - i.e. when is the clarinet p and how quickly
does it get there? Poor layout (engraving) could be as responsible as the
original editing for the ambiguity.

Not meaning to belabor the point, but just by way of example, in this case
which is right:
1. ppp, then subito p (as the piano score indicates)
2. ppp, then quick crescendo to p over the bar line (nearly but not exactly
the same as 1)
3. ppp, crescendo over 4 beats to p (as printed in the part)

More generally, given an ambiguity between the part and the score that isn't
clearly incorrect in one, how do you (or others) make a decision?

Karl Krelove

> -----Original Message-----
> From: Tony Pay [mailto:tony.p@-----.org]
> Sent: Sunday, April 25, 2004 10:26 AM
> To: klarinet@-----.org
> Subject: [kl] Checking the clarinet part with the piano score
>
>
> Of course, we all do this, don't we?
>
> I was reminded how necessary it is, even in supposedly unedited
> music, whilst
> playing the Bernstein Sonata recently. You'd have thought, wouldn't you,
> that there would be no discrepancies in this case?
>
> On the contrary: several changes of phrasing, a couple of missed tempo
> indications and some misplaced dynamics. And the final 5 bars of
> the first
> movement *start* piano, as opposed to being a crescendo from ppp.
>
> Grrr!
>
> Tony
> --
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd tony.p@-----.org
> | |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
> tel/fax 01865 553339
>
> ... When I grow up, I want to be happy...
>
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