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Re: Rossini - Barber of Seville Overture

Author: Jack Kissinger
Date: 2014-05-22 09:09

Actually, it's a little confusing and I may not help matters with this attempt at an explanation. The bottom line is that I think you can play what you have written and not worry about keys and key changes in the score or the original parts.

Here's what I think is going on. (Using the rehearsal letters in the parts on IMSLP), the introduction is in the concert key of E, then at the allegro vivace, the concert key becomes G until rehearsal letter I, where it returns to E for the remainder of the piece. (You can verify this by looking at the score or the flute parts.)

As far as I can tell from looking at the parts on IMSLP, the introduction calls for C clarinets (playing in E), the section in the key of G calls for C clarinets playing in G until several bars before I, where the piece calls for A clarinets (playing in written G (but, with accidentals, actual Bb) until the key change, and then in G until the end of the piece). There is a slight discrepancy between the (Kalmus) parts and the Ricordi score. The Ricordi score doesn't call for the change to A clarinet until (what the Kalmus parts call) I. I suspect the parts call for the earlier change because the first clarinetist has a solo one bar after I and the earler change allows the clarinetist to play a few notes on the A clarinet before having to play the solo.

I suspect that, when the Bb transposed parts were made, someone entered the clarinet parts into a notation program, then used the program to transpose the entire work to the key of A. This results in a lot of accidentals in the introduction and the section from I to the end to convert the Bb part from written A to actual F#.

As I said above, it looks to me as though you can play your parts as written without having to worry about the key changes.

Best regards,
jnk

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