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Johann Sebastian Bach/George Frideric Handel/George Frideric Handel/Joseph Haydn/Felix Mendelssohn-Bartholdy/Giacomo Puccini by ProQuest

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The new Carus edition of the full score, revised by Matthias Wamser, is something of a curiosity in that its purpose is not to re-examine the latest and most authoritative sources, but instead to pay tribute to the work of German musicologist Friedrich Chrysander (1826-1901), who in 1859 produced an edition of the piece for the Deutsche Hndel-Gesellschaft (German Handel Society). [...] the HHA volume (series 1, vol. 16) of L'Allegro, il Pensieroso ed il Moderato, published in 1969, is itself strikingly similar to Chrysander's edition, the most obvious difference being the omission of Chrysander's piano reduction/basso continuo realization, which appears below the original figured bass line in Carus's new edition and in Chrysander's 1859 one. [...] the recent publication of Michele Girardi's edition of Giacomo Puccini's Preludio sinfonico, SC32, is a welcome addition to the catalog.

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									Music Reviews                                                                               183

Brahms-Gesamtausgabe,” Johannes Brahms:            tion, with autograph revisions; the title
Quellen, Text, Rezeption, Interpretation: Inter-   page of the revision model for the 1875
nationaler Brahms-Kongress, Hamburg 1997,          edition, with markings by Simrock, and
ed. Friedhelm Krummacher, Michael                  mm. 6–7 and 56–96 of the first movement,
Struck, et al., 247–65 [Munich: G. Henle,          mm. 19–38 of the second movement,
1999]).                                            and mm. 1–15 of the fourth movement
   Accompanying discussion of the history          from the same source; and a reproduction
of each work, given in the volume’s                of a preserved photograph of the first page
Einleitung, has been beautifully prepared by       of a lost autograph piccolo part for the
Michael Musgrave, and addresses genesis            sixth movement. Just as the edited scores
and revisions, early performances and re-          themselves are easy on the eyes, the quality
ception in Germany and abroad (with a              of the facsimiles is clear and legible.
number of quotations from contemporane-               As Donald McCorkle has suggested, “A
ous reviews), as well as publication. Mus-         definitive edition is to be evaluated by the
grave draws frequently on Brahms’s per-            professional qualifications of its editors, by
sonal correspondence for dates and other           the quality (completeness and reliability) of
information (e.g., concerning early ver-           the original sources used as basis, the relia-
sions of the works and the lost sources that       bility and accuracy of the editorial work,
would have preserved them), and, with as-          and the quality of the critical reports to
sistance from Robert Pascall and Michael           document the editorial revisions, as well as
Struck, has assigned corrected dates to sev-       certainly the interest of the publisher in
eral of the relevant letters.                      producing an ultimately reliable edition”
   This volume incorporates a number of            (“Five Fundamental Obstacles,” p. 261). By
facsimile excerpts from autograph and              such standards, this volume certainly de-
other sources; the vast majority of these are      serves to be considered the most definitive
otherwise unavailable in reproduction. For         edition of the serenades yet produced. The
opus 11, facsimiles include the opening of         inclusion of editorial notes in English
the work in the autograph score, showing           would have been helpful, and would ren-
the title change (from “Sinfonie-                  der the results of the editor’s considerable
Serenade”) and the correction of “op. 18”          efforts more easily and more thoroughly ac-
to “op. 11,” as well as the first ten measures      cessible to a wider readership. It might be
of the Serenade, mm. 176–84 and 539–50             mentioned, as well, that although the price
of the first movement, mm. 1–10 of the sec-         tags on other volumes have already been
ond, and mm. 19–38 and 87–88 of the third          high enough to prove pro
								
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