 The Clarinet BBoard
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Author: Jaysne
Date: 2008-02-13 02:56
Anyone know of a collection of clarinet orchestral excerpts available that has the famous Eefer solo from Symphonie Fantastique?
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Author: GBK
Date: 2008-02-13 03:11
Look in Hadcock's Orchestral Studies for the Eb Clarinet.
It's also found on Volume 1 of the The Orchestral Musician's CD-ROM Library collection ...GBK
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Author: elmo lewis
Date: 2008-02-13 23:29
The Bonade excerpt book also has it, but I don't know if it is still being sold.
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Author: xxColorMeJoshxx
Date: 2008-02-14 00:36
The Bonade Excerpt book has been recently republished by Larry Guy in an anthology along with the Compendium and the Phrasing Studies.
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Author: Ed
Date: 2008-02-14 00:59
The Peter Hadcock book is great for anyone playing Eb. He gives lots of great tips and suggested fingerings. It is a must have for any serious player.
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Author: GBK
Date: 2008-02-15 02:22
Cosmicjello wrote:
> The orchestral musicians cd-rom library has it.
Isn't that what I wrote in my original posting?
("...It's also found on Volume 1 of the The Orchestral Musician's CD-ROM Library collection ...GBK")
There must be an echo in here. ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
...GBK
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Author: Tobin
Date: 2008-02-15 03:00
The phrasing studies of the complete Bonade are nothing more than sixteen of the Rose (Ferling) 32 Studies.
That was a little dissapointing.
The orchestral studies do include some notes by Bonade, but I would rather have the Hadcock and the orchestral musician's CD-ROM.
I would spend my money someplace other than the complete Bonade, FWIW.
James
Gnothi Seauton
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Author: Cosmicjello
Date: 2008-02-15 03:10
Sure you did.... or was it later edited to discredit me?!
Or did I only read the first line of every post before I posted.....
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Author: GBK
Date: 2008-02-15 03:20
Tobin wrote:
> I would spend my money someplace other
> than the complete Bonade, FWIW
I haven't seen the new Bonade anthology, but the original Bonade excerpt book had numerous typos and mistakes.
Have they been fixed in Larry Guy's republished edition? ...GBK
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Author: Tobin
Date: 2008-02-15 03:26
GBK,
I haven't compared the new to the old in any extensive manner. Once I leafed through and discovered how much of the material I already had...
In the foreward Guy mentions that numerous corrections (in text, content, and music) have been made while at the same time retaining Bonade's phrasing directions. So I guess it's an improvement?
James
Gnothi Seauton
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Author: Tobin
Date: 2008-02-15 11:54
To add:
The phrasing studies (Rose Studies) do have the same phrase markings and suggestions that the orchestral excerpts have. I imagine for some that this would be a selling point.
The markings for both phrasing and orchestral studies are primarily a guide to phrasing, emphasis, note length, and appropriate fingerings (and this category is not very elaborate).
James
Gnothi Seauton
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Author: elmo lewis
Date: 2008-02-15 19:07
I forgot to mention that there are two versions of Sym. Fant. Some of the trills and grace notes are different depending on the version being used.
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Author: Lelia Loban ★2017
Date: 2008-02-19 15:19
>>I forgot to mention that there are two versions of Sym. Fant. Some of the trills and grace notes are different depending on the version being used.
>>
Berlioz conducted the first performance in 1830 and revised the score in 1831. Do the differences in the E-flat clarinet parts come from that 1831 revision, or are they the work of a later editor? Do today's conductors generally prefer one particular edition?
I don't have any of the clarinet parts for the Symphonie Fantastique yet but I do have a complete miniature conductor's score, Kalmus no. 144, with the title on the Kalmus cover as "Fantastic Symphony." It's undated, but from the Library of Congress's online catalogue, I see that Kalmus first published this miniature in 1941 and I'm pretty sure my copy (bought used) is that edition, since it's stamped as withdrawn from the library of a local junior college that closed decades ago. The first page of the score has the bold titles in German with translations to French and English in smaller type, but on some internal pages, the first language for titles and footnotes is French, with German and English as the subordinate translations.
Kalmus completely omits the original title and colophon pages, and fails to identify the original publisher, but from internal evidence, including references to "editors," plural, I think it's probably Leipzig: Breitkopf & Härtel, edited by Charles Malherbe and Felix Weingartner for the set of the complete works of Berlioz published between 1900-1910. The "Symphonie Fantastique" is in the volume with "Harold in Italy." The Library of Congress doesn't seem to own any earlier edition than the Breitkopf & Härtel. Is it possible that the conductor's score wasn't published until the 1900-1910 Breitkopf & Härtel edition? Dover reprinted the Breitkopf & Härtel edition in 1984.
I can compare the Breitkopf & Härtel with the Kalmus in the LoC next time I'm in there, but that may be awhile and, in the meantime, I don't want to special-order the Dover reprint if it's the same thing I've already got. Therefore (yes, this is a lapse into laziness...), if anyone here owns that Dover reprint, could you please compare the quotations from footnotes with their corresponding page numbers in the paragraph below and see if the Breitkopf & Härtel / Dover matches the Kalmus? And does the Dover edition indicate whether Breitkopf & Härtel published Berlioz's 1930 version or the 1931 version?
In the Kalmus edition, all the footnotes appear in three languages: German, French and English. English is always the third choice, but some footnotes give French first while others give German first. A note on p. 35 of the Kalmus score (first in German, then French, then English), attached to the part for valve cornet in A, says, "This part has been later added by Berlioz himself in the autograph. The editors recommend to omit same." [Why, one wonders, would the editors recommend omitting a revision made by Berlioz himself?--but at least these editors show readers the option, instead of hacking and slashing without comment--this time, at least....] Similarly unidiomatic English appears consistently throughout the footnotes, as on p. 60 (first in French, then German, then English), where someone whose native language clearly isn't English has translated "Grosse Caisse" and "grosse Trommel" as "big-drum" (instead of bass drum).
Thanks very much if anyone can help sort out this edition!
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
Post Edited (2008-02-19 15:48)
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Author: davyd
Date: 2008-02-19 18:01
If you want to study this symphony in detail, you might want to get the Norton Critical Score edited by Cone. According to the textual note, it's based on two mid-19th-century printings of the score, with additional input from the manuscript and the first set of printed parts.
According to the extensive commentary on differences among the various editions, the cornet part in the 2nd movement does not appear in the original published score or parts, but only in the manuscript. The editor conjectures that the cornet was added after the symphony was published.
The eefer solo in the 5th movement has no special commentary. In the 14th bar, a flat sign affecting the trill on the 1st beat is shown in parentheses for both eefer and piccolo.
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Author: xxColorMeJoshxx
Date: 2008-02-19 19:57
To GBK,
Yes the typos and errors have been fixed in Larry Guy's new edition.
To those who think that this anthology is a waste of money, you are mistaken. The Phrasing Studies are meant to provide insight into the shape and line of the slow Rose etudes. These phrasing concepts are invaluable and are learned in this context so they can later be applied to anything. Phrasing, in my opinion, is one of the foremost reasons why we all do the Rose etudes. The Orchestral Studies also provide similar insight into phrasing and appropriate dynamics for selected excerpts. This is of course not meant to be used as the only resource for orchestral excerpts. When playing excerpts one should always play from the original part, however the concepts explored in Bonade's Orchestral Studies can be applied.
So, Tobin, don't look at it like, "Well, I have most of this material already." Look at it for how Bonade's thoughts and markings will enhance the material you might already have. Not to mention if you don't have a copy of the Compendium that too is included which has a wealth of information.
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