Klarinet Archive - Posting 000086.txt from 2006/08

From: Fred Jacobowitz <fbjacobo@-----.net>
Subj: Re: [kl] Weber concerto autograph/first edition
Date: Sat, 05 Aug 2006 13:12:29 -0400

Gotcha. In this case, I do want the autograph, I think. I want to look
at the dynamics and tempo/dynamic markings. I'm tired of not being
able to really tell my students what Weber wanted because of all the
caked-on crud from editors.

Fred Jacobowitz

Kol Haruach Klezmer Band
Ebony and Ivory Duo
On Aug 5, 2006, at 12:52 PM, dnleeson wrote:

> Fred, your note was not entirely clear to me in terms of whether
> you wanted to see the manuscript of Weber concerto or the 1st
> edition, assuming that the two were identical or of equal value
> to an inquring performer.
>
> Without a lot of work, there is no way to tell if the manuscript
> is a better source for an inquiring performer or the first
> edition. Sometimes composers would write a work and then there
> would be a performance of that work (such as Mozart's string
> quartets) in which the composer took part. Changes would be made
> in the performance parts by the players and those altered parts
> used for the edition. In those cases one can argue that the first
> edition is more useful than the manuscript.
>
> On the other hand a lot of crap can get into such an edition too
> because changes were made arbitrarily.
>
> So if you are looking for the best source in terms of truth
> (meaning what the composer asked for), the autograph is the place
> to go. But if you have definite proof that a performance took
> place and Weber made changes in the work as the rehearsals
> progress, then the first edition might be a more truthful truth.
>
> Look at the autograph for Mahler 2 and 3. It has six layers of
> changes made by Mahler himself as the work was rehearsed over a
> period of years. What is true? Which is correct?
>
> Just be careful before you leap from the frying pan into the you
> know where.
>
> Dan Leeson
> DNLeeson@-----.net
>
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