Höflich 2547

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Primary sources

Name Description Location
A autograph score Koninklijk Conservatorium Antwerpen (B-Ac), shelf number MM-DUBP-LEGLE-conc-1
B photocopy of the autograph piano reduction Koninklijk Conservatorium Brussel (B-Bc), shelf number CeBeDeM B1376/20914

Secondary sources

Name Description Location
C first edition of the piano reduction (CeBeDeM, Brussels 2006), based on B, therefore left aside
D recording by Philippe Hirschhorn, René Defossez and the National Orchestra of Belgium during final round of the Queen Elisabeth Competition 1967. Legley was probably involved in the preparations of this performance. Youtube
E recording by André Gertler, François Huybrechts and the National Orchestra of Belgium. It is likely that Legley was involved in the recording of the concerto. Archive.org

Critical comments

General remarks

  • abbreviations have been written out
  • cautionary accidentals have been added
  • cello and double bass: in A always notated on 2 separate staves, in our edition sometimes on 1 in order to save space
  • div.in 2 has been replaced by div.a 2
  • empty bars are left blank, as in A
  • harp: in A always notated on 2 staves, in our edition sometimes on 1 in order to save space
  • names of instruments have been translated from French to Italian
  • percussion: in A written on 2 staves: one for the timpani and one for the other instruments; in our edition, every instrument is given its own stave

Specific comments

I. Andante e senza rigore nel tempo – Allegro

Bar Comment
1 timpani: A gives their tuning in this bar, in our edition moved to bar 29
3-8 harp: in A without # before a and g, added
4, 8 harp: in A without gliss., added
8 strings: in A again explicitly "sempre div. a 2", omitted
26 horns: in A, dim. starts in bar 27, adjusted according to oboe and clarinet parts
32- flute: accents on the first semiquavers only for flute in A; in analogue passages without these accents
34 violin solo: in B without accent on e flat
38 violin solo: bowing in B: (a g) (f# g#) (b a#), not thus in bar 46
38 viola and cello: in B all notes in one single bow
43-45 viola: in A b flat, in B b natural; the latter option seems to be more logical, bassoon and horn playing a (sounding) b natural on the first beat of bar 43 as well; in D and E the violas play b flat though, therefore we have chosen b flat
48 clarinet 1: in A f natural, in B f sharp, which seems to be a logical imitation of the violin solo in the preceding bar; in D and E fa natural, therefore we have chosen fa natural
56-61 orchestra: in B all notes staccato, in A staccato only on first beat of bar 56 in violin 1, therefore in our edition without staccato
59 violin solo: in A without trill, most likely a slip of the pen, in B with trill
62 harp: in A written an octave below with addition 8va bassa
62 cello: in A without sempre marcato
63 harp: sim. added (compare to bassoon and double bass), not in A or B
69 trombones, cello: in B without accents
70 cello: sim. added (compare to trombones)
71-72 bongos: dynamics added, analogous to other instruments
76 trombones: in A without accent on last note, added; in B no accents at all
80-81 bongos: dynamics added
83-85 violin solo: in A an octave above, without 8va alta
90 violin solo: in B without dim.
93 bassoons: pp added (compare to double bass)
98-100 trombones: in A d natural, in B d sharp, in D and E d natural as well
105 cello: in A, bowing different, probably a slip of the pen
111 bassoon 2: in A e sharp, in B, D and E d sharp, which seems to be more logical: in bars 111-113, the bassoons evolve in octaves
123 violin solo: in B two last quavers staccato
124 violin solo: in B first 5 quavers staccato
141 flutes: a 2 added
141-142 orchestra: staccato added, in analogy to bars 121-123
148-first half of 149 in A without staccato dots, with dots in B
153 cymbal: in A à l'ord.
155-156 violin solo: many notes with staccato dots, probably erroneous (compare to bars 34-35)

II. Quasi adagio

Bar Comment
1 metronome number not in B
6 dynamics different, as in A
11 cello: as in A, without div. or non div.
16-17 double bass: no dynamics in A, see also bars 72-73
20 violin solo: in A and B without slurs, slurs added according to bar 76
34 clarinet 1: first note as in A, D and E, the clarinet thus imitating the flute and being imitated by the harp; according to B a d tied to the previous note, probably a mistake
46 trumpet: f and c not slurred in A, but slurred in B; compare also cello and double bass in the previous bar
54 harp: dynamics as in B (harp p, strings pp)
65 cello and double bass: in A' a natural, in B a flat; recordings D and E also seem to play an a flat, therefore a flat in our edition
68 violin solo: in B, the second slur contains 3 notes
72-73 double bass: no dynamics in A, see also bars 16-17
76 violin solo: in A without slurs, added according to B
90-91 violin solo: slurs as in A, different in B
91-93 harp: in A without 8va alta and notated an octave above
97 clarinet 2: note on third beat: in A, D and E thus, in B a major second above (probably a transposition error)

III. Allegro risoluto ma non troppo vivace

Bar Comment
everywhere the articulation of the rondo theme is inconsistent in A, in our edition no attempt has been undertaken to unify it
4 violin solo: in A, the fourth beat is difficult to decipher, adopted as in B
26 in B, trill with wavy line
33 bassoon 1 and cello: in A without a, in D and E with a, in B with a, but, B being a reduction of the whole orchestra, this a could stem from the harp part alone; a added
33, 36, 38, 50, 53 & 55 bassoons: in A slurred in bar 50 only; in B always slurred, except for bar 53; in our edition always slurred
50 horns: in A dotted crotchet, obviously a slip of the pen
55 harp: first note thus (only f), probably for the harpist's convenience
58 clarinet 2: in A second note f, according to B, D and E e; compare to the harp and bar 56
58 harp: in A first chord without g, compare to bar 56
60 violin solo: in B, the last slur starts on c flat already, obviously a slip a the pen
70-72 tutti, except flutes, violins and viola: in A and B thus, without articulation
72 flutes: in A without accent on the third beat, with accent in string parts, in B no accents at all in bars 71-72; accent added to e flat
76 bassoons, cello and double bass: in B without mf and without accent
76 violin solo: in A without accent on first beat, but compare to bar 3 and analogous passages; in B without accents in bars 76-77, with accents in similar passages
90 strings: gliss.? not in A; B: at bar 87, Legley writes cordes gliss.; in bars 93-95 twice gliss. as well; recordings D and E seem to play it without glissando
111-114 oboes: unclear whether oboe 2 should play these bars as well, one single oboe seems sufficient, I added; in recording E, the oboe seems not to play at all, perhaps in order to allow more expressivity to the solo violin
132 & 134 violin solo: all sources give g sharp as second note in bar 132 and g natural as second note in bar 134
137 violin solo: in B, poco a poco crescendo starts a bar earlier
146-149 tutti, except flutes, violins and viola: in B without accents or staccato dots
147 flutes: in A without accent on the third beat, added according to strings
147 violins and viola: b flat and f not slurred in A or B, but slurred in preceding similar passages; slur added
150 timpani and snare drum: with staccato dots in A, the rest of the orchestra doesn't have dots
151-158 tutti, except flutes, violins and viola: in A unarticulated, in B with accents
155 bassoon 1 and trombone 1: stems not connected in A, connected in other parts
155-156 last 3 quavers of bar 155 until the first 3 quavers of bar 156: violins and viola: accents only in B, but compare to bars 148-149
156 oboes, clarinets, horns, trumpets, timpani and snare drum: stems not connected in Bin B; bassoons, trombones, cello and double bass: not connected in A neither
158 viola, cello and double bass: in B' cresc. on the last 6 semiquavers, not in A, D and E
165 bassoons: f not repeated in A (see bar 159), repeated in parts of trombones and low strings
166 violin solo: slur only in B, A has slur in bar 2, therefore added; in D and E possibly without slur
168 violin solo: in A and B without accents on the third beat, but compare to bars 4 and 77; accent added
175 tutti: sempre molto marcato not in all instrumental parts in A, completed
175-176, 179-181 tutti, except flutes, violins and viola: in A without articulation, in B with accents and staccato dots; no articulation added
177 & 180 flutes: no notes on the first beat
194-195 last quaver of 194 until 195: bassoons, trombones, snare drum and strings: in B with accents and staccato dots, not added because they are implied by the marcatissimo of bar 184


Movement Bar Erratum
I 1 Contrabbasso: misprint for Contrabbassi
III 148 flutes: accent on first note added erroneously