 The Clarinet BBoard
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Author: Ed Palanker
Date: 2012-06-05 03:35
Ken I have a question for you. Why do you think that Poulenc made "corrections" to his sonata after hearing it performed eleven times without mentioning that there were mistakes in the part. I would think after hearing it once he would have realized there were mistakes and made the corrections on the spot, or soon after. If you know I'd really be interested because I still play the "old" edition with piano, as many others do today, yet many believe that the new edition is the correct one. ESP eddiesclarinet.com
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Author: Ken Shaw ★2017
Date: 2012-06-05 13:31
The Poulenc "corrections" are a can of worms that has been opened several times here and on the Klarinet list. I take no position and am not really qualified to do so. I'm just the messenger who provided the link to the MS.
Ken Shaw
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Author: Buster
Date: 2012-06-05 19:07
As I know it, the "official premiere" of the work occurred after Poulenc passed away, with Bernstein seated at the piano... but this may be merely an aside to the matter at hand.
I don't know that we can accurately surmise, nor concretely answer, Why did, or didn't, Poulenc do...? Matters are not that cut and dry.
Poulenc died before the work was actually published, clearly leaving him unable to verify/clarify any errors present in the first edition.
The quandary is compounded as multiple manuscripts appear to exist: a version that certain French clarinetists had access to (which I have never seen myself), and another which Poulenc prepared for submission to the publisher.
The link which Ken has posted is the latter; containing the disputed passages--- with what appear to be clear, intentional, corrections made by the composer--- intended for publication.
Does this pre- or post- date the other version that resides in the hands of of some French clarinetists?
Given that Poulenc seemingly made corrections to his own score, we could surmise that this is a later revision and perhaps establish a chronology. Though claiming to have a superior view of the entire situation is perhaps a tenuous perch to sit upon.
Thinking and surmising about the why is an empty search. We can merely determine for ourselves what we deem to be the most accurate representation of what Poulenc "intended", hopefully replacing the age of an edition with rational research and thought.
At the end of it all, any "version" can be claimed to be correct if supported properly; or one can't be wrong if educated evidence is presented.
Until that time machine is invented... (and we can finally stop fighting over 4 notes.)
-Jason
Post Edited (2012-06-05 19:14)
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Author: Ed Palanker
Date: 2012-06-05 19:31
Ken, I meant to say Debussy not Poulenc, his Rhapsodie. He heard it eleven or twelve times in the original edition at the conservatory competition. I always wondered why he didn't make the few note corrections at the end of the piece that appear in the newer edition. Just wondered if you or anyone else knew. Seems strange that someone like him would hear something that many times that they just wrote and not say, wait a minute, there's some wrong notes there. ESP
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Author: Buster
Date: 2012-06-05 22:14
Oh the Debussy........
2 notes that will "live in infamy".
In my high-school youth, I studied with one that did substantial research of the work, yet no answer containing substantive backing could be discerned.
We can simply make our case, support it, and make it work.
Unfortunately we'll not know until we are able to ask the composer.
However, which is considered the new edition?
I merely have the Durand edition at arms reach.
-Jason
Post Edited (2012-06-05 22:15)
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