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Klarinet Archive - Posting 000113.txt from 2008/10

From: "Keith" <bowenk@-----.com>
Subj: RE: [kl] Karl Leister K.622
Date: Mon, 20 Oct 2008 17:28:21 -0400


It is very rarely possible to avoid editorial *decisions* in the production
of an edition even if the autograph exists in good condition and is known,
or believed, not to have been subsequently revised by the author or modified
in the production of playing parts. That is the case with the Gran Partitta,
K361. We know about That Bar, of course, but another example of a decision
by Dan and his co-editor or maybe the NMA Board is in the last movement, bar
124. In the phrasing (slurs) of the semiquaver (sixteenth) runs in bars
124-127, most people 'feel' they should be the same in all the instruments
and this is what appears in NMA (Dan's edition) and Henle 'Urtexts'. But it
ain't what The Man wrote. In the autograph, where the parts are written out
three times (the rest are colla parte) there are clear differences of
phrasing: oboes and clarinets are in one-bar phrases, basset horns in
two-bar phrases and bassoons and bass in a four-bar phrase. So a decision
has been made, this time to change something that Mozart actually wrote.
Never asked you about this one, Dan, what's the scoop here? It's absolutely
clear in the autograph, no room for error or misinterpretation. Or do I have
to wait for the book?

Keith

> If editing is "wrong" - or at least, "wrong-headed" - perhaps it's time to
> have a Mozart scholar-in-the-know come out with a "non-edition." Just the
> facts, ma'am, the notes we're reasonably certain of, and a text
explanation
> of what's not there (and why it isn't).

That already pretty much exists in the shape of the NMA Baerenreiter
edition.
There are places in that where you might want to take issue with the octave
chosen, but none of the sort of editorial interference that I was
complaining
about.

Tony
--

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