Klarinet Archive - Posting 000192.txt from 2007/06

From: Gary Van Cott <gary@-----.com>
Subj: Re: [kl] Brahms Quintet harmony question
Date: Fri, 29 Jun 2007 12:17:48 -0400

There is no score in the Henle edition (I just received some more copies
yesterday, I was out when you posted on this before).

In the Henle edition these notes are G# and the two pages of editing
comments don't say anything about this measure.

Gary
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Lelia Loban wrote:
> I've run into something (else) that puzzles me in the Adagio of the Brahms
> Quintet, Op. 115.
>
> At bar II-70 (9 bars before E in Simrock, Breitkopf and International
> editions), second violin, last two double-stops in the measure, there's a
> conflict between the full score and the playing parts in the 1892 first
> edition published by Simrock. In the full score, the top note in the
> double stop is a and the lower note is accidental g-natural, following an
> accidental g- sharp earlier in the bar. However, the Simrock playing part
> for second violin has the accidental g-sharp early in the bar but not the
> accidental g-natural for the final two double-stops, and therefore those
> g's remain sharped. The clarinet in A (in clarinet key of D minor) has
> b-flat there, i.e. orchestral g-natural. The other instruments add
> c-natural and e-flat to the ensemble chord.
>
> I also looked at the 1949 International edition and the 1989 Breitkopf
> edition (re-edited "principally from" the 1927 Breitkopf edition). Both
> agree with the Simrock playing part in omitting the second violin's
> accidental natural on the g at the end of bar II-70. The only place I've
> seen that accidental natural is in the Simrock 1892 full score.
>
> Brahms modulates the key in this bar and the next. Either g or g-sharp
> would work there as a passing tone. I've tried the chord progression on
> the piano both ways and they both sound good to me, but then I'm not
> Brahms. Brahms uses minor seconds as passing tones all the time and,
> although I don't recall another specific instance of a simultaneous mash of
> two minor seconds (here, g, g-sharp and a), it hadn't surprised me. It's
> just that pesky g-natural in the full score making me wonder, because
> otherwise there are not many disagreements between the full score and the
> parts. Has anyone seen the autograph score? Does the Henle score say
> anything about this bar? Any authoritative word on whether Brahms really
> wants the 2nd violin to play g or g-sharp?
>
> Lelia Loban
>
>
>
>
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>

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