Klarinet Archive - Posting 000078.txt from 2008/08

From: "Tony Pay" <tony.p@-----.org>
Subj: Re: [kl] Poulenc Sonata
Date: Wed, 27 Aug 2008 10:02:48 -0400

On Tue, Aug 26, 2008 at 7:22 PM, Glenn Kantor <klarinet@-----.net> wrote:

>> In 1990, (the now deceased) Jerry Pierce (past President ICA, columnist: "Pierce's Potpourri", noted clarinet historian, etc...) wrote me a long letter on April 17, 1990 with his thoughts on the different Poulenc editions.>>

>> As he concluded in his letter, he indicated that whichever edition you play, it really doesn't matter. As Jerry said: "it is all Poulenc - at one time or another".>>

Yes, I agree with your quote, namely: "it is all Poulenc - at one time
or another." And, that it doesn't really matter which notes you play.

However, what I don't much like is that some people say it is WRONG to
play the notes that are now in the latest edition, and in some
previous editions. I'm talking about people like Philippe Cuper, for
example.

Now, if he and others prefer to play the notes that Poulenc originally
wrote, I have no quarrel with them.

But since it is quite clear that Poulenc changed those notes -- see
the photocopies I posted --, they shouldn't go around the world
bending the ears of the poor students who play what Poulenc finally
endorsed, even in some cases saying that it is a SCANDAL that those
notes be played.

>> Come on now - We are talking about 4 (count 'em 4) notes.
>> Will the average listener know the difference? no
>> Will the average clarinetist know the difference? probably not>>

There are two issues here.

The first is the issue of what notes are played in a particular
performance -- and that doesn't matter much.

The second is the issue of what is correct scholarship. The
photocopies of the manuscript place the CHRONOLOGY of Poulenc's
thoughts beyond doubt. Therefore, it is nonsense for the French
players to claim that their (unaltered) manuscript is the only correct
version.

So, they should acknowledge that; and either present the complete
situation to students, or SHUT UP. It's the only ethically defensible
position.

By the way, in passing, a few years ago I had occasion to record the
Theodore Gouvy Sonata, and used the Musica Rara edition edited by one
Jerry Pierce, of whom I knew nothing. In his introduction, Pierce
stated that Gouvy's phrasing and dynamics were sufficiently
unequivocal to make it possible to publish the work unedited.

Yet, on comparing the clarinet part with the version printed in the
piano score, I found quite substantial differences of phrasing and
dynamics. Anyone playing the part without making that comparison
would in my view have come erroneous conclusions about Gouvy's
intentions.

My first reaction was to contact Jerry Pierce and ask him his reasons
for making these (unacknowledged) changes. Unfortunately, I found
(from this list) that he is no longer with us.

Now, I'm sure that Jerry Pierce was a great man in many ways.
However, with all due respect to Glenn Kantor, this experience
certainly doesn't encourage me to take Pierce's opinion about what we
should do about the Poulenc sonata more seriously than the evidence of
my own eyes.

Tony

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