Author: Tony Pay ★2017
Date: 2007-05-19 09:07
Sherman Friedland wrote, in part:
>> We took the full orchestra set of parts and carefully scaled them down and it went very well. How different can any arrangement of this superb work sound, using its original parts.. It is a reasonable way.>>
For what it's worth, Alan Boustead writes of his own version:
"To reduce all the details of the existing orchestral score to a nonet would result in an unacceptable, uncharacteristic work in which all nine musicians would play almost entirely without rests. Rather, the principle of reconstruction has been to discover textures that would have given rise to Brahms orchestrating in the way he did. Many details of the orchestral version have been discarded as being unquestionably added during recasting; however, at many other points the reconstruction is almost certainly exact. The opening of the first movement, and also its coda can hardly be disputed; the minuet movement is virtually unaltered. Brahms's known preference for the 'natural' valveless horn makes it possible to discover the original part with near certainty. The almost insignificant second violin part in the orchestral version can often be discounted; where it is of importance it seems not unlikely that its music was originally for the viola: the subsequent 'moving-up' of parts, giving more independence to the double-bass, creates a sound very characteristic of the composer, not dissimilar to that of the second Serenade (where the viola is the leading string instrument)."
Tony
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The Clarinet BBoard
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