Difference between revisions of "Höflich 2547"
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==Sources== | ==Sources== | ||
===Primary sources=== | ===Primary sources=== | ||
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|- | |- | ||
| '''C''' | | '''C''' | ||
− | | first edition of the piano reduction (CeBeDeM, Brussels 2006), based on B | + | | first edition of the piano reduction (CeBeDeM, Brussels 2006), based on B, therefore left aside |
| | | | ||
|- | |- | ||
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| [https://archive.org/details/AM_1973_05_10 Archive.org] | | [https://archive.org/details/AM_1973_05_10 Archive.org] | ||
|} | |} | ||
+ | |||
==Critical comments== | ==Critical comments== | ||
===General remarks=== | ===General remarks=== | ||
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*names of instruments have been translated from French to Italian | *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 | *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 | ||
− | |||
<!--*overal -afbeelding met bogen- | <!--*overal -afbeelding met bogen- | ||
--> | --> | ||
− | + | ||
===Specific comments=== | ===Specific comments=== | ||
====I. Andante e senza rigore nel tempo – Allegro==== | ====I. Andante e senza rigore nel tempo – Allegro==== | ||
Line 160: | Line 159: | ||
====II. Quasi adagio==== | ====II. Quasi adagio==== | ||
− | 1 | + | {| class="wikitable" style="text-align:center" |
− | 6 | + | |- |
− | 11 cello: in A | + | ! Bar |
− | 16-17 | + | ! Comment |
− | 20 | + | |- |
− | 34 | + | | 1 |
− | 46 | + | | metronome number not in '''B''' |
− | 54 harp: | + | |- |
− | 65 cello | + | | 6 |
− | 68 | + | | dynamics different, as in '''A''' |
− | 72-73 | + | |- |
− | 76 | + | | 11 |
− | 90-91 | + | | cello: as in '''A''', without ''div.'' or ''non div.'' |
− | 91-93 harp: in A | + | |- |
− | 97 | + | | 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==== | ====III. Allegro risoluto ma non troppo vivace==== | ||
− | + | {| class="wikitable" style="text-align:center" | |
− | 4 | + | |- |
− | 26 in B | + | ! Bar |
− | 33 | + | ! Comment |
− | 33, 36, 38, 50, 53 | + | |- |
− | 50 | + | | everywhere |
− | 55 harp: | + | | the articulation of the rondo theme is inconsistent in '''A''', in our edition no attempt has been undertaken to unify it |
− | 58 | + | |- |
− | 58 harp: | + | | 4 |
− | 60 | + | | violin solo: in '''A''', the fourth beat is difficult to decipher, adopted as in '''B''' |
− | 70 tutti, | + | |- |
− | 72 | + | | 26 |
− | 76 | + | | in '''B''', trill with wavy line |
− | 76 | + | |- |
− | 90 | + | | 33 |
− | 111-114 | + | | 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 |
− | 132 &134 | + | |- |
− | 137 | + | | 33, 36, 38, 50, 53 & 55 |
− | 146-149 tutti, | + | | bassoons: in '''A''' slurred in bar 50 only; in '''B''' always slurred, except for bar 53; in our edition always slurred |
− | 147 | + | |- |
− | 147 | + | | 50 |
− | 150 | + | | horns: in '''A''' dotted crotchet, obviously a slip of the pen |
− | 151-158 tutti, | + | |- |
− | 155 | + | | 55 |
− | 155 | + | | harp: first note thus (only ''f''), probably for the harpist's convenience |
− | 156 | + | |- |
− | 158 | + | | 58 |
− | 165 | + | | clarinet 2: in '''A''' second note ''f'', according to '''B''', '''D''' and '''E''' ''e''; compare to the harp and bar 56 |
− | 166 | + | |- |
− | 168 | + | | 58 |
− | 175 tutti: sempre molto marcato | + | | harp: in '''A''' first chord without ''g'', compare to bar 56 |
− | 175-176, 179-181 tutti, | + | |- |
− | 177 & 180 | + | | 60 |
− | 194 | + | | 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 '''B'''in 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 | ||
+ | |} | ||
+ | |||
+ | ==Errata== | ||
+ | {| class="wikitable" style="text-align:center" | ||
+ | |- | ||
+ | ! Bar | ||
+ | ! Erratum | ||
+ | |- | ||
+ | | 148 | ||
+ | | flutes: accent on first note added erroneously | ||
+ | |} | ||
[[Category:VLNL]][[Category:VLEN]] | [[Category:VLNL]][[Category:VLEN]] |
Revision as of 13:55, 13 December 2017
Contents
Sources
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 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 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 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 |
Errata
Bar | Erratum |
---|---|
148 | flutes: accent on first note added erroneously |