 The Clarinet BBoard
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Author: JKL
Date: 2015-02-27 23:58
I am preparing the Stravinsky with a student, and we were stumbling upon one note: second piece, third line from the bottom (or 7th line from the top). In this line are three semiquaver rests - the note after the third semiquaver rest, a low G (the only note with a "staccato-wedge"). in my edition (Chester Revised Edition 1993) this note is a semiquaver. Everybody, in every recording in have checked, plays a quaver. Solution?
Thank you
JKL
Post Edited (2015-02-28 02:33)
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Author: cigleris
Date: 2015-02-28 04:20
The recordings are wrong in that case. It's very clearly a semi quaver (16th) and the instructions are clear. The issue is possibly the tied low F. In terms of the rhythm here the tied F belongs to the 3 semi quavers = quaver. The semi quaver rest and Get semi quaver is the quaver = quaver.
I say play what was written.
Peter Cigleris
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Author: JKL
Date: 2015-02-28 13:29
I see, thank you.
- David: the problem is not: short or not short. I should have been more precise: EVERYBODY, Sabine Meyer, Florent Héau in his masterclass (https://www.youtube.com/watch?v=8vLGTMER4uM - go to 19.40), whoever, adds to the short semiquaver with the wedge a semiquaver rest, so it becomes a total of a quaver, at least no correct semiquaver.
My copy is quite old. I want to be sure there is no different source or a corrected edition which shows that Stravinsky wanted perhaps this spot as a quaver or a semiquaver plus semiquaver rest.
JKL
Post Edited (2015-02-28 22:14)
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Author: Jack Kissinger
Date: 2015-02-28 22:00
IMSLP has a copy of the first edition (Chester). If I'm looking at the right note, it is a quaver (eighth note) in that edition. Ditto in the old International Music edition I have. (So I've never seen it as a semi-quaver before.) Since it's Stravinsky, I could see it going either way. A true semi-quaver would compensate for the "hanging" semi-quaver rest in the previous line. This is the only disruption in even beats in the movement -- but the rest does have a fermata. Playing the note following the held semi-quaver rest as though it begins on an upbeat (arsis) seems to me to play hob with the following rhythmic pattern, at least until the compensation occurs (and syncopation at that speed is very hard to pull off). On the other hand, if one plays the note following the rest as though it begins on a downbeat (thesis), then playing the note in the following line as a true semi-quaver disrupts what would otherwise be a regular rhythmic pattern. (though treating it as the third note in a triplet, as Peter suggests, avoids that problem). In any case, if I'm looking at the right note, Chester has apparently published the piece both ways and those making the recordings were probably playing from a version where the note is a quaver. I wonder what Chester's most recent edition shows and it would be instructive to see the manuscript.
Best regards,
jnk
Post Edited (2015-02-28 22:11)
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Author: EBC
Date: 2015-03-02 04:08
To Jack Kissinger: I'm pretty sure the most recently revised edition of the piece is Chester's 1993 edition, judging by the Boosey & Hawkes (Chester Music) catalogue.
(Looked it up because I'm performing the piece for my Bachelor's recital in a month, and I was understandably interested in whether there was a misprint or not!)
Eric
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Author: JKL
Date: 2015-03-03 23:47
Today I looked at the copy of my student (Chester, bought about one year ago). In this copy it is - a quaver (eighth note).
JKL
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Author: Lelia Loban ★2017
Date: 2015-03-04 21:22
>Anyone else dislike this music?
>
Funny you should ask. The first time I heard the Three Pieces (in high school) I hated them! Years later, the sheet music turned up in a big pile of scores at a yard sale. I bought the whole pile for one price and figured I'd re-sell a lot of that stuff, including the Three Pieces. But, because I loved the Firebird and some other Stravinsky music, I gave the Three Pieces a try.
They hooked me.
I've got several recordings now and those hooked me, too. They've also hooked Jane Feline -- but not my husband, an advanced amateur violinist who once walked out of a terrific performance of The Rite of Spring; and they didn't hook the late-lamented Ms. Shadow Cat, either. I think *she* wanted to hook *them* -- in a much more literal manner.
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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