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.
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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