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Klarinet Archive - Posting 000114.txt from 2008/10

From: "Dan Leeson" <dnleeson@-----.net>
Subj: Re: [kl] Karl Leister K.622
Date: Mon, 20 Oct 2008 18:24:05 -0400

I remember the passages well. And I discussed them with a number of people.
The solution I came to when Mozart did parallel passages different in some
way, was a simple one. The first time he wrote the passage probably
represents what wanted for all repetitions of the passage. But the parallel
passages may not have been down that day, or even the next. So when he
finally got to them, he didn't remember how he had phrased the music
originally. He was a busy guy, and to backwards 5 or 6 pages to see what he
did earlier was not worth his time. And if it was phrased differently, I
generally reverted to the original notation.

There isn't much else one can do.

Incidentally, this problem was much more severe in K. 375 (for 8). And
going back to the K. 375 (for 6) to see what he did there didn't help much.

Eventually, I paid an astrologer who told me what to do. And then I checked
that information at a séance..

Dan Leeson
dnleeson@-----.net

----- Original Message -----
From: "Keith" <bowenk@-----.com>
To: <klarinet@-----.org>
Sent: Monday, October 20, 2008 2:28 PM
Subject: RE: [kl] Karl Leister K.622

>
> 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
> --
>
> _________ Tony Pay
> |ony:-) 79 Southmoor Rd
> | |ay Oxford OX2 6RE
> tel/fax 01865 553339
> mobile +44(0)7790 532980 tony.p@-----.org
>
>
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