Klarinet Archive - Posting 000099.txt from 2000/07
From: Richard Bush <rbushidioglot@-----.com>
Subj: Re: [kl] Mozart Concerto editions
Date: Mon, 3 Jul 2000 13:58:51 -0400
Since I respect you, what edition, if any, gets your nod of approval for K. 662?
Daniel Leeson wrote:
> Well, if we are speaking about the Bellison edition of K. 622, I agree
> that it is a particularly poor one, not only in light of current
> scholarship (for which Bellison can not be faulted) but also in terms of
> both his dynamic and phrasing choices which were very uncharacteristic
> of music from the late 1700s. It was the first edition of the piece I
> ever saw and, at the time, I was so crazy about the work that it didn't
> matter who edited it, but it really has no place in today's editions of
> that piece.
> As for the old B&H, I suspect that it is not correct to suggest that it
> was edited in 1907 by Henri Kling. The edition is (or is supposed to
> be) an exact copy of the B&H Alte Mozart Ausgabe which began publication
> in 1875 and was finished by 1900. So if Kling did do a completely
> different edition than the volume of the AMA that would be strange. As
> far as my records of the editors of the AMA show, Kling was not among
> them. Incidentally Johannes Brahms was!
> As for the trio di clarone editing the piece for the new B&H edition, I
> would stay as far away as possible from any work edited by three people,
> if that is what happened. The fact that all three are excellent, even
> wonderful players has nothing to do with it. Thus far, none of them
> have demonstrated credentials to be an editor on this work. What they
> did was to produce an edition that they like or that they play (really
> an editorial concensus of some sort) but that is the LAST way to produce
> an edition of K. 622.
> It is a common belief that editions produced by very good players must
> be very good editions. Wrong! And seriously so, though they might be.
> What a good player brings to this piece are not the same things that a
> knowledgeable editor brings to this piece.
> Sabine Meyer showed how little she knows of the period or how little
> respect she has for a composer's judgement when she recorded the Gran
> Partitta with a contrabassoon.
> Dan Leeson
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