Comparing Published Editions of Mozart s Clarinet Concerto

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would include the choice of notes and octave for some passages degree of tempo flexibility articulation. unwritten ornamentation and improvisation performance of the fermati performance of trills and written. ornaments and solo playing of tutti passages, Clarinet teachers and players have probably always customized their editions by penciling in slurs different. notes dynamic and other interpretive marks Certainly not everyone will have the same taste However by. choosing an edition closest to his or her own ideas a teacher may save a lot of writing The historical and. performance information in an edition may take care of the basic explanation of the piece for a student. allowing more lesson time for additional topics With so many new editions available it is not necessary for a. teacher to pick the edition that he or she first learned. Whichever edition is chosen the performer may be advised to work towards a personal approach to the. concerto Eric Simon writes in the preface to the Schirmer edition Generally it should be said that correct. phrasing and dynamics in detail will be achieved by adequate study and deep immersion in the work rather. than by an abundance of added printed markings which are after all only one editor s opinion and when. taken too literally tend to make the rendition exaggerated and tasteless 5. As mentioned earlier several editions attempt to reconstruct the low register passages originally conceived for. basset clarinet Some passages have solid justification while others are more conjectural Some editions seek. to rewrite the assumed original passages in a better way for the normal range A clarinet The preface to the. most recent Breitkopf edition states Nonetheless the soloist on the clarinet in A should keep in mind that he. is playing Mozart s work in a version whose definitive form according to latest research did not stem from. Mozart s hand If Mozart had adapted his work to the clarinet in A he certainly would not have been. contented with mere octave transpositions Hence it is all the more justified when the revision of the solo part. remains as close as possible to Mozart s authentic although scant manuscript notation 6. Earlier editions of course have not had the benefit of more recent scholarship. Comparing the Editions, In the following list measure numbers and notes are based on the edition in the Neue Mozart Ausgabe NMA. and are cited using the formula of movement measure note so that III 333 G means the 6th note of the 333rd. measure of the third movement, A count was made of the total number of dynamic marks dynamic terms and expression terms in the solo part. for each movement By looking at these figures one may compare the indications for dynamics and. expression For example in the first movement the number of markings varies from two in the. Burmeister Peters edition to 286 in the Wright Southern edition This is a substantial difference and. demonstrates entirely opposite philosophies in editions. The musical examples from the Concerto I 145 146 II 55 III 301 302 and III 311 312 were chosen to. illustrate the choices editors have made in the areas of octave placement and articulation While nothing can. fully substitute for looking at the entire edition it is hoped that these examples will give a substantial sample of. the editor s ideas, The term Eingang as used here is distinct from the term cadenza Evidently both Mozart and Beethoven. distinguished between cadenzas and shorter fermata embellishments which they called Eingange a. distinction not made in earlier periods 7 While most cadenzas contain modulation and are placed over a tonic. six four chord the Eingang or lead in was indicated by a fermata over a dominant seventh chord usually. preceding a new section for the purpose of avoiding a modulation. Editions are published in the original key of A major or in the transposed key of Bb major For editions. published in both the clarinet part stays the same and the accompaniment is in different keys In some cases. editions can be combined For example it is possible to use a Bb clarinet to play the solo part from an edition. in A with a piano part from an edition in Bb Watch out for certain cuts and changes as noted. Prices listed were accurate in the United States in September 1996 and were the lowest found by comparing. two major sheet music retailers Luyben Music 4318 Main St Kansas City MO 64111 816 753 7111 800. 2LUYBEN and Sheet Music Service of Portland 34 N W 8th Ave Portland OR 97209 3591 503 222 9607. 800 452 1133 Their assistance is gratefully acknowledged. Conclusion, Again we are reminded that different people will have different interests and tastes in choosing an edition.
Indeed many performers will further personalize the chosen edition with changed articulations pitches. octaves and so forth Perhaps the choice of an edition as well as the further changes will be aided by. reviewing the choices editors have made as shown in the examples above. For an overall choice in the key of A this writer recommends the Hacker Schott edition as worthy of. consideration The background historical information the attempt to reconstruct passages in close to their. original octave and the generous slurs will be helpful for many players Good points can also be made about. the Trio di Clarone Breitkopf and Giegling B renreiter editions For a more detailed scholarly investigation. consider the Burmeister Peters edition The Giegling B renreiter edition is also published in the key of Bb. About the Writer, Keith Koons is an associate professor of music at the University of Central Florida in Orlando He holds music. degrees from the University of North Carolina Chapel Hill the Manhattan School of Music and the University of. Southern California He serves as chair of the ICA Research Presentation Committee The writer wishes to. thank Al Rice and Brian Hellhake for their assistance. 1 The first documented performance of the Mozart Clarinet Concerto or Stadler in Riga delivered at the 1994. Chicago Clarinet Congress and reported in The Clarinet 22 1 1994 p 42. 2 trans William McColl An Early Review of the Mozart Concerto The Clarinet 9 2 Winter 1982 p 17. 3 Franz Giegling Neue Ausgabe samtlicher Werke V 14 4 Kassel B renreiter 1977. 4 Cambridge Cambridge University Press 1996, 5 Mozart Concerto for Clarinet Ed Eric Simon G Schirmer 1959. 6 Wolfgang Amadeus Mozart Concerto for Clarinet and Orchestra KV 622 Edition for Clarinet and Piano by. Henri Kling revised and edited by the Trio di Clarone Sabine Meyer Wolfgang Meyer and Reiner Wehle. Wiesbaden Breitkopf and H rtel 1987, 7 Eva Badura Skoda Cadenza in The New Grove Dictionary of Music and Musicians 6th ed London. Macmillan 1980 II p 592,Edition Data Comments Total Number of. Dynamics and,Expression in, B RENREITER The NMA contains two separate versions I 2.
of this concerto the reconstructed basset II 0, Published by B renreiter BA4773A clarinet version and the normal range III 0. Edited by Franz Giegling suggestions for clarinet version In this edition the two Summary. performance by Hans Dietrich Klaus piano versions are incorporated by using double. reduction by Thomas Bruttger Key of A staves at times which may be confusing. copyright 1977 price 21 95 Measure for the performer In the normal range. numbers are marked Tutti passages are clarinet line no attempt is made to alter. printed in large notes and identified as the octave of passages for the normal. such Solo part identical with the Neue range clarinet Thus III 311 313 is found. Mozart Ausgabe editorial suggestions for in the throat register and III 333 repeats. articulation notated with dotted slurs in III 332,piano score Historical and performance. information in German and English is Suggestions are made for decorating both. included in the preface to the piano score fermati in I and two suggested passages. explaining the rationale for the basset including the Mozart Quintet passage are. clarinet provided for the Eingang in II Interesting. details include I 109 6 printed as F natural,it appears that way in the K621b. sketch and III 220 3 printed as Db not D,The editors have been very conservative. in the areas of dynamics and articulation,with only two dynamic markings in the.
entire solo part and few added slurs,Thus this edition will serve as a blank. slate on which the performer can add,his her own interpretation As noted. above additional suggested slurs may be,found in the piano score Full measures. are slurred in I 89 and 90 to match the,basset horn sketch. The makers of the Vivace computer,accompaniment program have chosen this.
edition for their version of the piece, G RARD BILLAUDOT For the Eingang in II the parallel passage II 47. from the Mozart is provided I 324 13 is III 129, Published by G rard Billaudot Paris written as b not g No attempt was made Summary. Edited by Guy Dangain copyright 1994 to change the octave of passages to. Key of A 52405552 and key of Bb capture more of the original basset. 52405553 both priced at 20 00 clarinet range,Rehearsal letters are marked No tutti. passages included Identification of Slurs are generously provided for the most. editorial additions or change is not part Some 16th note passages in the. provided and no historical or performance third movement are marked with staccato. information is included for the first beat and slurs for the second. Articulation is generally consistent, BOOSEY HAWKES No suggestions are made for the Eingang I 149. at II 59 In the second movement the II 24, Published by Boosey Hawkes Music turns are written out as played This III 84.
Publishers London Edited by Ernest Roth edition was made before the recent work Summary. with the clarinet part revised by Frederick to reconstruct the original basset clarinet. Thurston Key of A WCB0081 priced at version so there is no attempt to adjust. 15 00 Key of Bb WCB0082 priced at for the low range There are editorial slurs. 12 00 Copyright 1946 Measure numbers added although not as much as in some. are marked Most tutti passages printed editions The articulations are not always. with large notes and identified as such consistent One interesting phrasing idea. The separate clarinet part has editorial is in the passage from III 139 157. suggestions and may be compared with Thurston slurs a group of four notes not. the unedited part in the piano score Brief within the bar lines as is commonly found. historical information is supplied with the but starting with the last eighth note in the. piano score no additional performance measure The rondo theme in the third. information is included movement slurs the pickup 16th notes into. the first eighth note and similar passages, BREITKOPF AND HARTEL TRIO DI In this edition some passages are I 110. CLARONE changed to the low register to capture II 25. more of the original basset clarinet range III 67, Published by Breitkopf and Hartel but not as many as in the Hacker edition Summary. EB8523 Wiesbaden Germany Edited For example I 133 is not written in the. by Henri Kling revised and edited by the lowest octave For the Eingang in II as. Trio di Clarone an established clarinet and well as the two fermati in I there is a. basset horn trio consisting of Sabine remark that the fermata should be. Meyer Wolfgang Meyer and Reiner Wehle ornamented but no specific passages are. Key of A copyright 1987 price 19 95 suggested Trying to match Mozart s. Rehearsal letters and measure numbers original notation the four notes I 61 6 9. are marked Tutti passages are printed in and similar spots are written as grace. large notes and identified as such note eighth and two l6ths While useful to. Editorial additions and changes are know seeing this on the page is probably. indicated with dashed slurs and unnecessary and confusing for the. parentheses around staccato dots and performer,dynamics Extensive historical and. performance information is printed in Some slurs are added but not its many as. English and German in the preface to the in some editions For example I 148 149. piano score are not slurred Full measures are slurred. in I 89 and 90 to match the basset horn, BREITKOPF AND H RTEL KLING No suggestions are made for the Eingang I 134. in II Take note of III 169 4 which is A II 30, Published by Breitkopf and H rtel instead of Bb A good number of slurs are III 88.
EB2300 Leipzig Germany Edited by added although not as many as in some Summary. Henri Kling copyright 1907 Key of A price editions Some inconsistencies are. 17 50 Rehearsal letters and measure apparent such as passages in the. numbers marked Most tutti passages recapitulation of the first movement which. printed with large notes and identified as do not match the corresponding passages. such No editorial additions or changes are in the exposition There is an unusual slur. indicated No historical or performance pattern in I 149 149 in which slurs start off. information is included the beat No attempt was made to change. the octave of passages to capture more of,the original basset clarinet range. J B CRAMER In the clarinet part Brymer makes no I 250. suggestion for the second movement II 55, Published by J B Cramer distributed in Eingang In the foreword to the piano III 170. U S and Canada by Boosey and Hawkes score he provides the passage from the Summary. Edited by Jack Brymer copyright 1993 Mozart Quintet as well as another. published in both the clarinet part stays the same and the accompaniment is in different keys In some cases editions can be combined For example it is possible to use a Bb clarinet to play the solo part from an edition in A with a piano part from an edition in Bb Watch out for certain cuts and changes as noted

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