Klarinet Archive - Posting 000002.txt from 2006/05
From: "Keith" <bowenk@-----.com>
Subj: RE: [kl]Performance & notation queries - Webers Duo Concertant - help please
Date: Tue, 02 May 2006 06:11:07 -0400
Lorraine
I don't know the answers; I am sure someone else here does, but I want to
tell you how to find out for yourself.
First, I see from a cursory web search that the B&H edition is annotated
"Arranged by Philip Roth". Poisonous words. You are doing it in the original
instrumentation, so there is no need for an arrangement. It likely means
that he has messed about with something, articulation and dynamics at the
least.
What you need to do is to get hold of a score that is as close to the
composer's autograph manuscript as possible. If the autograph exists then
this will be called an "Urtext" score. Check all the rhythm, notes,
articulation in this and give this score to your examiners telling them what
you have done.
Publishers who do Urtext scores include Henle and Barenreiter. I couldn't
see one of these in the Gran Duo Concertante editions, but there is one by
Peters and one by Schott which are probably reasonable. Eulenberg miniature
scores are usually pretty good and this may be the easiest reference.
There are ones by IMC, Fischer Ricordi and Kalmus which I would not trust
(the Fischer and Ricordi also say "arranged ..."), but others with direct
experience may disagree.
Keith Bowen
> -----Original Message-----
> From: klarinet-return-87487-bowenk=compuserve.com@-----.org
> [mailto:klarinet-return-87487-bowenk=compuserve.com@-----.org] On
> Behalf Of Lorraine
> Sent: Tuesday, May 02, 2006 10:29 AM
> To: klarinet@-----.org
> Subject: RE: [kl]Performance & notation queries - Webers Duo Concertant -
> help please
>
>
> Hi, I am performing Weber's Duo Concertant for my final recital. The
> examiners, not being woodwind experts are a stickler for the score and as
> such anything different from what written has to be justified with a good
> reason or I could lose marks.
>
> I am using the Boosey & Hawkes edition - definitely not the best I know as
> seems to be littered with inconsistancies and mistakes.
>
> One such section I am querying is in the 3rd movement, bar 79 - 80. The
> groups of semiquavers are notated rythmically different to the previous
> groups of six semi-quavers. i.e. the first semi-quaver (sixteenth note)
> is
> dotted, with the second being a demi-semi quaver. My teacher has said to
> play them straight as all others as he believes it is an editorial
> difference, not what Weber would have written, but it is not enough of a
> reason to say I am playing them straight 'because my teacher said so'. I
> would like to be able to justify this by giving a reason. If it is common
> performance practice to play them straight then this would be something I
> could write.
>
> I am sure there are many experienced performers out there who could advise
> me on this.
>
> Another bar in question is bar 182 - it is notated quaver four semi-
> quavers
> and dotted crotchet. Where this appears else where it is usually notated
> four semiquavers quaver and then dotted crotchet. I have listened to some
> recordings and am pretty sure most play it as the latter rhythm not the
> former. Is this another editorial alteration?
>
> There are also some strange notes in the piano which don't really make
> harmonic sense and my accompanist has also asked if I could check these.
>
> Again 3rd Movement, bar 178 last note - should it be an A natural instead
> of
> an A flat as written? In bars 194 and 198 the last semiquaver in the
> first
> is an F in the second is a G, we are assuming this is a mistake as why
> would
> this change when the rest of the notation for both clarinet and piano is
> the
> same.
>
> Hoping this makes sense and someone can enlighten me. With many thanks,
> for
> your help,
>
> Lorraine
>
>
>
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