 The Clarinet BBoard
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Author: clarinetist04
Date: 2012-04-03 04:24
Several years ago there was a thread talking about how Francaix inaccurately put tempo markings that were higher than he intended into the publication of the Concerto.
Recently I have been considering this piece with a concert band accompaniment and so I got the score to the Concerto from the library and lo and behold, there are a ton - TONS - of differences between the clarinet solo part as indicated in the score and the solo part that Editions Musicales Transatlantiques published in the piano reduction.
Just from the first movement here's one's I've spotted:
1 before (4) - in the piano reduction the second group of 16ths is written Fnat-Eb-Dnat-Eb-etc. whereas the score has that last Eb as a Db (Cuper plays the score version)
Right on (4) - Reduction says the second and 3rd beats go E#-G#-Cnat-C#-Dnat while the score reads E#-G#-C#-E#-Gnat (the rest of the bar is the same - Cuper plays the reduction version)
4 before (5) - the downward scale in the reduction is a chromatic scale starting on D# and beat two ending on E#, the score has an F# Maj scale starting on D# and ending on A#. (Cuper plays the reduction version)
6 after (8) - the third beat starts with a Gnat in the score to make a complete arpeggio phrase through the bar unlike a 16th rest in the reduction (I think Cuper plays the reduction)
6 before (9) - On the second note of beat three the reduction has a G#, score has a Gnat
4 before (9) - In the score the measure begins with an eighth rest and the rest is a run of 16ths where after the first run ends on a high Dnat the next group immediately begins with an Fnat. The reduction has a high D# eighth note.
3 before (9) - Same as prior but the sequence on beat 3 in the score is high Gnat-Eb-B-Gnat
Right on (10) - The last note of the measure in the score is a B, the reduction ha a D#
In the Cadenza - The first FFF rapidissimo run in the score STARTS with the F# scale in FFF while the second run is the ppp G scale. The reduction is the reverse.
In the Cadenza - the tremelos are completely different. Totally different. This is why I first looked - because of the low (unplayable) Eb in the 5th bar of the tremelos in the reduction. To accurately portray this I'd have to post a picture but basically it's all up an octave. In the 32nd notes that follow the tremelos the notes are different too.
At the A Tempo before (14) - The second tremolois Dnat-F# in the reduction but Dnat - Bb in the score. The next bar start A-F# in the score instead of D-F#. These differences continue to (14).
3 before the end - The last beat is E#-F#-D-D# in the score but the reduction is E#-F#-B-D.
So my question to the forum is:
Is there any concensus on why there are SO many differences between the score and solo part/reduction (both by Transatlantiques)? Is there any clue as to which Francaix intended? I would ordinarily go by what Cuper played but the shear number of differences is so high I have trouble with just "going with the flow." I look forward to your responses.
-Robert
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Author: 2E
Date: 2012-04-03 11:28
Cuper wrote an article about it in the Australian Clarinet and Saxophone society magazine in March 1998. The article may appear somewhere in the Clarinet magazine by the ICA but I'm not sure.
In it he discusses all the discrepancies between the clarinet part, piano part and orchestra score, many more than you've listed. As for the actual 'reasons' for the descrepancies, I have no idea.
I did however have the chance to play this for Cuper in a masterclass (after fixing all the mistakes thanks to the article) and Cuper recorded it with Francaix. Cuper asked Francaix to write a corrected edition but unfortunately he wasn't able to before he passed away.
I would assume that Francaix intended what Cuper recorded, since he was conducting.
Hope this helps!
2E
Post Edited (2012-04-03 11:29)
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Author: clarinetist04
Date: 2012-04-03 17:48
It does help - from previous posts I was aware that the article in the Australian Clarinet and Saxophone magazine enumerated the different tempo discrepancies but I wasn't aware it detailed all of these note differences as well. I suppose I'll track that down and use that in my own part editing...
My suspicion is that Francaix wrote the part and edited it with Cuper but inadvertently published the unedited version. Which begs the question of original intention versus practicality. Practically speaking, the edited version that Cuper recorded seems to be the playable, "practical" version. "Intentionally" speaking, though, I would say that when initially conceived, the score version is probably more what Francaix had in mind. Clearly playability (regarding the tremolos) wasn't the number one priority (see: key of B) for him.
Thank you 2E for the insight and direction.
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