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Klarinet Archive - Posting 000089.txt from 2008/10

From: =?iso-8859-1?Q?Fernando_Jos=E9_Silveira?= <>
Subj: RES: [kl] Karl Leister K.622
Date: Sun, 19 Oct 2008 13:22:12 -0400

Hi Dan and colleagues.
I AM not 'comfortable' to write in English but I will try to pass same of MY
thoughts about it.
I do not agree with you Dan, when you say that the " An editor's job is to
state what the composer meant in his or her occasionally ambiguous or
unclear notation." It is not that simple...
When I studied the Grier`s book about editing, the main thing I learnt is
the 'editing is transcribe the music of some composer by the view of the
editor'. So, when you edit some pieces you put there "your interpretation".
The difference between performance and editing is that on performance you
just can choose "one" way to play it. On editing you can offer many
And that is the best edition: one that offer to all the information to build
up your own interpretation.
But, the edition that means an interpretation of a individual could be
seeing, by scholars, as a 'bad edition'.
But it, at least, will serve to 'state' how some performer think about the
piece. In the case, Leister is not trying to make a 'critical edition', but
just a 'performance edition'.
They are different and I agree that a 'critical' edition could be more
important than the 'performance' edition. But the last one has it value.


Fernando Silveira

-----Mensagem original-----
De: Dan Leeson []
Enviada em: domingo, 19 de outubro de 2008 12:23
Assunto: Re: [kl] Karl Leister K.622

I think that Tony's comment that Leister's edition of K. 622 would only be
"another redundant attempt at transcribing a performer's personal
preferences" means something like the following:

An editor's job is to state what the composer meant in his or her
occasionally ambiguous or unclear notation. And to do that, the editor needs

to have the source material for the work in question.

In the case of 622, that is impossible. So what is done instead is to
prepare an edition in the way that the editor likes to play the piece. And
such editions are, in my opinion, not worth buying. It doesn't matter how
fine the player, he or she has nothing but opinion to offer about the
ambiguities in the composition. It takes no training at all to hold an

When at 16 I studied with Dave Weber, his coaching on how to play K. 622 was

mostly preceded by the words, "I like to do it this way..." It took me many
years to understand, that that approach to editing or playing a work was not

useful, and was, in fact, destructive.

Some, I don't remember who, wrote a book on how to play K. 622 and did so by

interviewing five world-class players and then writing down their thoughts
about how they liked to play K. 622. It resolved nothing, and was in no way
helpful in resolving the K. 622 problem, all of whose elements can be
wrapped up by recognizing that there is no autograph available and,
therefore, no way to know what Mozart might have meant.

Dan Leeson

----- Original Message -----
From: "Lelia Loban" <>
To: <>
Sent: Sunday, October 19, 2008 6:09 AM
Subject: [kl] Karl Leister K.622

> Tony Pay wrote,
>>As I suspected. Another redundant attempt at transcribing a
>>performer's personal preferences.
>>And, in Keith Koon's case, another redundant attempt to make such
>>an attempt meaningful.
> Tony, could you please elaborate on that comment? There's not enough
> context for me to understand it, although I assume it's in response to the

> messages from Gary Van Cott, who asked:
>>> Is anyone familiar with an edition of the Mozart Clarinet Concerto
>>> edited by Karl Leister? A customer asked about it today. It isn't
>>> listed in Keith Koons article from 1998.
> and David Kumpf, who replied.
>>>>Gary, see the article by Keith in the June 2008 issue of The
>>>>Clarinet (pp 34-35, vol 35 no 3). There is an edition published
>>>>by Edizioni Musicali Euphonia, Pisogne Italy.
>>>> This one is edited by Leister.
> Thanx,
> Lelia Loban
> Obama for President!
> ------------------------------------------------------------------



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