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II.1 Selecting music editions (Research Skills, Week 2)

Explore the editorial history and problems with older editions, and discover the benefits of using Urtext editions for a clearer understanding of the composer's intentions.

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II.1 Selecting music editions (Research Skills, Week 2)

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  1. II.1 Selecting music editions (Research Skills, Week 2)

  2. The impact of different editions: • Debussy: Prelude “La cathédraleengloutie”, • bars 19 – 23 • Arturo Michelangeli • Recorded 1978, using old Durand edition from 1910 • Paul Crossley • Recorded 1992, using Durand’s new critical Urtextedition (ed. Roy Howat) from 1985 Selecting music editions

  3. Debussy La CathédraleEngloutie, original Durand edition, 1910 Selecting music editions

  4. The editorial history of a piece: • Debussy: Prelude “Le cathédraleengloutie” • Debussy’s 1st book of preludes was published in 1910. • The composer’s own recording of this prelude (on piano rolls) was made in 1913 but varied enormously from the printed edition • The composer’s piano rolls recording was issued on LP in 1962, making it much more widely available • Following pianists’ and musicologists’ questions about the validity of the old Durand edition, a new edition emerged in 1985 which resolved these discrepancies Selecting music editions

  5. Problems with older “performing” editions: • Over-editing (many 19th century editions were edited by virtuosi such as Liszt and Von Bulow and overlaid with subjective expression marks) • Composer’s original intentions obscured if editorial marks are not distinguished from the original articulation markings • Sometime even notes were added for additional effect Selecting music editions

  6. Issues with 19th & early 20th c. editions: • e.g. Bach Italian concerto (published NY 1918, ed. Mortimer Wilson) Selecting music editions • Bach Italian concerto (original printed edition, 1735)

  7. Issues with some established editions: • e.g. Beethoven op. 13, ii (ABRSM, ed. Craxton & Tovey) Selecting music editions • (from Henle Urtext edition)

  8. Issues with some established editions: • e.g. Beethoven op. 13, ii (original edition, 1797) – much closer to Henle Urtext – including the division between treble and bass Selecting music editions

  9. Urtext • Urtext = “Source text” • Derived from from original manuscripts and first editions • Faithfulness to composer’s original intentions is paramount so the editor does not add interpretation marks • Detailed notes on sources highlighting any discrepancies between sources • Represents best practice in music editing Selecting music editions

  10. Example of an Urtext Selecting music editions • Bach Italian concerto: source (original edition, 1735) • BärenreiterUrtext edition. No added interpretation marks or fingering. However, music put into modern notation (no tenor clef!)

  11. Which is the best Urtext? Selecting music editions

  12. Why use Urtext editions? • Gives the clearest idea of the composer’s intent • Avoids the imposition of outmoded performance practices which arise using outdated editions • Allows the performer make informed choices in interpretation • Enables good practice in teaching – students will learn early on to “respect the text” if the teacher doesn’t have to cross out unnecessary printed editorial marks • May also includes separate guidelines on interpretation and on the background of the piece Selecting music editions

  13. Modern annotated Urtext editions • Challenge of the Urtext – how to interpret unmarked score? • Some editions based on good sources add interpretation notes at the end: e.g. Richard Jones’ edition of Anna Magdalena Notebook (ABRSM): Selecting music editions

  14. Philip Shields, Librarian, RIAM • philipshields@riam.ie Further questions?

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