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From: | Urs Liska |
Subject: | Re: Henle piano template |
Date: | Mon, 29 Jul 2013 22:59:42 +0200 |
User-agent: | Mozilla/5.0 (X11; Linux i686; rv:17.0) Gecko/20130623 Thunderbird/17.0.7 |
Am 29.07.2013 22:20, schrieb PMA:
"Urtext" is a fiction anyway in 95% of the cases. What would you consider "Urtext" when you have a manuscript, a fair copy, an original edition controlled by the composer, a personal copy of the OE with corrections, and another, later manuscript with other readings than the OE or the corrected copy? Or (as is often the case with Chopin for example) if you have an original edition and several copies of that edition with different additions by the composer (for example embellishments for different pupils)?Urs Liska wrote:Am 29.07.2013 20:04, schrieb PMA:Urs Liska wrote:No, these don't, but I think that fingerings in itself _do_ belong in there, and if the original ones from Henle are copyrighted ...It seems to me that the only fingerings properly belonging in an Urtext ed are those of the composer. If he / she supplied none, then _none_.But I think what we are aiming at here is a reproduction of a givenscore/edition, in the current case Henle's Edition of Beethoven op. 10/3.Whether an Urtext edition should or should not contain editorial fingerings - or whatever editorial decisions you might to name - isn't the question at hand. This is a complex issue which would probably have been answered quite differently if you ask it 1950, 1980 or today. I really vote for working towards the 'style', at least at the moment. And for that the fingering style of Henle's edition should be part of the challenge, especially as good engraving of fingerings isn't trivial. UrsTrue, the question at hand had not invited my remark. It had, tho, stirred up my old impression that Henle's use of "fingerings by..." reduces their "Urtext" claim tofalsehood.
I think there can't be such a thing like a perfect edition. But an edition should strive as hard as possible to account for how the printed score relates to the (different) sources. "Critical edition" is probably a much more honest term to what one can achieve. And in such a context fingerings don't compromise the claim at all - if it is clear which fingerings are authentic and which aren't.
That's true. I have more and more got used to not write any fingerings at all (I usually find them simply distracting). And the less fingerings the editors printed the less black spots I have to 'mute' mentally. When I pick a copy from the time with my first piano teacher I'm usually shocked: He let me copy his fingerings, and that means that in complicated passages I have fingerings attached to nearly all notes! I really can't play from these scores anymore. I was quite surprised when I had a Bach score at the piano that I found it quite difficult, but after erasing all the pencil fingerings I could practically play it from sight again.Perhaps I'd have interpreted the term less strictly, had I not as a pianist counted on blank space to scribble in _my_ fingerings.
PA
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