Difference between revisions of "Höflich 2547"
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| '''D''' | | '''D''' | ||
− | | recording by Philippe Hirschhorn and the National Orchestra of Belgium | + | | 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. |
− | | | + | | [https://youtu.be/9Wzl7_fJspI 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. | ||
+ | | [https://archive.org/details/AM_1973_05_10 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+ | *''div.in 2'' has been replaced by ''div.a 2'' | ||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 | ||
+ | <!--*overal -afbeelding met bogen- | ||
+ | --> | ||
+ | ===Specific comments=== | ||
+ | ====I. Andante e senza rigore nel tempo – Allegro==== | ||
+ | {| class="wikitable" | ||
+ | |- | ||
+ | ! 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==== | |
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− | II. Quasi adagio | + | |
1 metronoomcijfer niet in B | 1 metronoomcijfer niet in B | ||
6 dynamiek verschillend, zoals in A | 6 dynamiek verschillend, zoals in A | ||
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97 Klarinet 2: noot op 3: in A, D en E (klinkend) la, in B si | 97 Klarinet 2: noot op 3: in A, D en E (klinkend) la, in B si | ||
− | III. Allegro risoluto ma non troppo vivace | + | ====III. Allegro risoluto ma non troppo vivace==== |
overal articulatie van rondothema is in A inconsequent, zo gelaten | overal articulatie van rondothema is in A inconsequent, zo gelaten | ||
4 viool solo: 4de tel in A moeilijk leesbaar, in B wel, cf. Ook analoge passages | 4 viool solo: 4de tel in A moeilijk leesbaar, in B wel, cf. Ook analoge passages |
Revision as of 17:40, 12 December 2017
Contents
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
1 metronoomcijfer niet in B 6 dynamiek verschillend, zoals in A 11 cello: in A zonder aanduiding "div." of "non div." 16-17 contrabas: geen dynamiek, cf. 72-73 20 viool solo: bogen niet in A of B, maar cf. m.76 34 klarinet 1: eerste noot zoals in A, D en E; in B een do overgebonden aan voorgaande, wat voor kl. In si b dus een re zou zijnl do (klinkend si b) is logischer vanwege de imitaties (fluit – klarinet – harp) 46 trompet: boog niet in A, wel in B 54 harp: sic (p, strijkers: pp) 65 cello en contrabas: in A la hersteld, in B la b, D en E lijken ook la b te spelen, vandaar la b overgenomen 68 viool solo: 2de boog in B voor 3 noten 72-73 contrabas: geen dynamiek, cf. 16-17 76 viool solo: in A geen bogen, hier zoals in B 90-91 viool solo: boogvoering in B anders, maar allicht foutief 91-93 harp: in A zonder "8va alta" en oktaaf hoger genoteerd 97 Klarinet 2: noot op 3: in A, D en E (klinkend) la, in B si
III. Allegro risoluto ma non troppo vivace
overal articulatie van rondothema is in A inconsequent, zo gelaten 4 viool solo: 4de tel in A moeilijk leesbaar, in B wel, cf. Ook analoge passages 26 in B tr met golflijn 33 Fagot 1 en cello: in A zonder la, in D en E met la, in B met la, maar aangezien dat een reductie is, kan die la theoretisch gezien enkel van de harp komen; la toegevoegd 33, 36, 38, 50, 53, 55 Fagotten: in A slechts gebonden in m.50; in B overal gebonden behalve in m.53; in onze partituur overal gebonden genoteerd 50 hoorns: in A 4de gepunt, uiteraard schrijffout 55 harp: eerste 8ste alleen een fa, allicht om het de harpist niet te lastig te maken 58 Klarinet 2: noot op 2 in A fa (klinkend mi b), in B, D en E (klinkend) re, cf. Analoge maat 56; veranderd naar mi (klinkend re) 58 harp: eerste akkoord in A zonder sol, cf. Echter m.56; toegevoegd 60 viool solo: in B begint laatste boog al op eerste noot van 3de tel, slordigheid 70 tutti, behalve fluiten, violen en altviool: in A en B geen articulatie, zo gelaten 72 fluiten: in A geen accent op 3de tel, wel bij strijkers; in B in de hele passage (m.71-72) geen enkel accent 76 fagotten, cello en contrabas: in B zonder mf en zonder accent 76 viool solo: in A geen accent op 1ste tel, cf. Echter m.3 en analoge passages. In B geen enkel accent in m.76-77, wel bij analoge passages. 90 strijkers: gliss.? Niet in A; B: voor m.87 staat er genoteerd "cordes gliss."; in m.93 e.v. Ook slechts 2x gliss.; opnames lijken niet te glijden 111-114 hobo's: onduidelijk of enkel hobo 1 moet meespelen, 1 hobo lijkt voldoende, I toegevoegd; in E lijkt merkwaardig genoeg de hobopartij weggelaten... 132 &134 viool solo: tweede noot in 132 is sol #, in 134 sol hersteld, in A, B, D en E 137 viool solo: poco a poco crescendo in B al een maat vroeger 146-149 tutti, behalve fluiten, violen en altviool: in B enkel accent, niet staccato 147 fluiten: in A geen accent op 3de tel, wel bij strijkers 147 violen, altviool: si b en fa niet gebonden, voorgaande analoge passages wel, hier toegevoegd 150 pauk en kleine trom: enkel hier staccato in A, zo gelaten 151-158 tutti, behalve fluiten, violen en altviool: in A geen articulatie, in B accenten, zo gelaten 155 Fagot 1 en trombone 1: notenhalzen niet verbonden in A, bij de andere instrumenten wel 155 laatste 3 8sten-156 eerste 3 achtsten violen en altviool: accenten enkel in B, cf. Echter m.148-149 156 hobo's, klarinetten, hoorns, trompetten, pauken en kleine trom: notenhalzen niet gebonden in B; bij fagotten, trombones, celli en contrabassen ook niet gebonden in A 158 altviool, cello en contrabas: in B cresc. Op de laatste 6 zestienden, echter niet in A, D en E 165 fagotten: f in A niet herhaald (cf. m.159), wel bij trombones en lage strijkers 166 viool solo: boog enkel in B, maar in A wel in m.2, toegevoegd, in D en E schnijnbaar zonder boog 168 viool solo: in A en B geen accent op 3de tel, cf. Echter... accent toegevoegd 175 tutti: sempre molto marcato niet consequent bij alle instrumenten aangeduid in A, hier aangevuld 175-176, 179-181 tutti, behalve fluiten, violen en altviool: in A geen articulatie, in B accenten+staccato, zo gelaten 177 & 180 fluiten: volledige maat rust 194 laatste 8ste-195 fagotten, trombones, kleine trom en strijkers: in B is nog eens accent en staccato herhaald, niet overgenomen -->