Tuesday, February 8, 2011

NMA critical report on K. 191: a terrible translation

Since I can't read German, the NMA's commentary on their edition of the Mozart concerto isn't much good to me. Well, except if... I run it through a free online OCR (thanks, http://www.onlineocr.net!) and Google Translate? The results are pretty bad, and maybe only usable while looking at the German original, but maybe better than nothing? Here's what comes out:

Concerto in Bb for Bassoon and Orchestra KV 191 (1869; WSF111202; AMA Series 12, No. 11

1. Sources

A: Autograph, disappeared (see the preface to the music volume, 5 XI). Johann Anton Andre must-have owned around 1800, for his at this time because-oriented first edition as "op: 96 after the original manuscript." In a written communication, Wolfgang Plath, the approximate date on which the loss of Au -autograph at the house of Andre 'has occurred, with "first quarter of the 19th century." Pla.th stresses the basis of the various Andre directories only very non-ferry is possible to determine such a date, and points out that the auto-graph is no longer in hs. Design Index III appears that was started sometime in the second half of the 1820s and in 1828 work was still. That the Bassoon Concerto however in the directory Andri IV, which closed in 1833 hs. List appears, corresponds to the usage Andre's. There, he also noted in No. 71, dated "a Salisburgo li 4 di Giugno 1774". Franz Gleissner they are in its directory, however with "5 lunii 1774" on ". . In Andre's printed "The-matic directory" (Offenbach, 1841) found the autograph of K. 191 is no longer in his "box list (see the preface to the music volume, 5 IX and XI) reports Andre 'the bassoon concerto" stolen "as; this certainly can be added later, however, not date specific. In the auctions of Leo Liepmannssohn 55 and 62 is not the car come to a graph \ Torschein. For the editors must-te of the first edition can be used as Leitquelle.

B: First published in Voices: I Concerto pour le Basson I, / avec accompagnement dc / deux Violons, Old, Basse, Haut-bois deux et deux I c: ors compositum. par I FV. A. Mozart. / Auvre 96 I no. 2150. Prix Fl. 2 -. / A OFFENBACH SIM / chez jean Andrd. No publishing. 2150; appeared 1805th Holdings: Library of the International Mozarteum Foundation in Salzburg, Austrian National Library in Vienna, shelfmark: MS 38 456 (excluding title page). The nine-part books engraved in vertical format of about 33x25 cm are titled with bassoon solo (4 5), Violino Primo (4 S), violin secend S.), violas (3 5), basso e Violoncello (3 5 ), Primo oboe, oboe Second degrees (per 1 5), Corno Primo B.alto, Corno Second B.alto ° (in the 2nd sentence in F, each 1 5), on the first page of music of all votes is top left: MOZART. op: 96 (Erroneously on V. 1: op: 69). The publisher no. 2150 communicates with the exception of v. 11, 5, 2 and 3, and Va., p. 1 on all sides right un-ten. The number "355", the only copy in the Vienna V. II, p. 2 and 3, and on page 1 in Va. each center is given, not the publisher-no. be. Thus, the Year "in 1790" as stated in the preface of the music band 5th XI incorrect. Walter liver mann2 are a publisher no. 1512 to. Might as Op 96 Accordingly, the first edition to be published around 1802nd Gertraut Haberkamp3 but doubts the accuracy of this statement, since it is not certain that the engraving of record in Andris works are also always seemed. As long as no copy of the publisher's no. 1512 to-emerged, the issue with the No. 2150 (1805) be considered as a first pressure 4. The two specimens cited above are certainly absolutely identical text. They served as the NMA Leitquelle.

B1: Title run of B: CONCERN TO / p.I. Pour 1 = lel / bassoon / (BASSON) / avec de accompagnernent I 2 Violons, Old, Basso, 2 Hautbois et 2 Cors I par I WA MOZART. / Op 96 I N9 2150th Pr.av.accomp. d'Orch. 3.60 nM I-Pr.av.ac comp.de Piano JOILANDRg. London, Augener & C9 copy: Library of the music college of Winterthur, Signature 449th C The nine-part books are titled: bassoon solo (6 5), Violino I, II (each 6 pages), Basso (p. 5 each), oboe L, II (2 each 5), Conto I. and IL in B.alto (2 each 5). The orchestra tune-drawn, engraved, the solo voice. On the first page of music is at the top: CONCERTO POUR LE BASSON (bassoon) AVEC ORCHESTRE up the solo voice. . A VEC ORCHESTRE OU PIANO1 WA Mozart, Op 96, bottom left: Published by Johann Andre, Offenbach am Main, bottom right: Andrg 2150th He rails, this title probably after the mid-19th edition Century. The set of parts based on pressure from Andre. With the exception of bar 47 in the 2nd Set in Fg. solo are emended all note errors. The type of articulation supplements is in part inspired romantic, but in a different way than in C source, you might call neo-baroque. These additions were in the voices of hand-writing the score for the Edition Eulenburg no. 784 cor-rected in 1939. As the title for the NMA edition offered no new aspects, it was not taken into Lesar-tenverzeichnis.

C: score-copy from the collection of Aloys Fuchs in the estate Adolf Doppler (Graz): Concert / For which I with bassoon accompaniment of 2 violins, viola I Basso, 2 oboes and 2 horns of I / WM: Mozart. Prof. Dr. Hellmut privately owned spring Hofer, Mainz. 50 written pages, landscape Alloted 12 lines, of which 9 are described systems.

1. Sentence: p. 1-25; 2 Sentence: p. 26-34; 3 Sentence: p. 35-50. The somewhat unusual arrangement score is: In Corno ° in I B alto Como 2d ° in B alto oboe In I ° I ° 2d Oboe Violino In per Violino Viola 2d ° I o I bass / bassoon solo. Between Basso and Fg. solo a system is empty. On the 1st Note site is in the top center: Concert for the Fa-god. The copyist does not give the impression of a skilled writer. The bar lines, he added with a ruler according to the space, which claim the violins, drawn by all systems. Viola and Basso have 16th notes, it comes with the given space into trouble. As a model it has one of the two charging-served gene Andre'-pressure, matching errors are proof of this, such as in the first sentence of T. 30, Va.; T. 149, Ob. l / II, in the 2nd. Set T. 29, V. 1, T. 47, Fg solo, in the 3rd Set T. 46/47, vc. / B. (See "II variant readings"). Additional false notes are to identify a few. However, can the accuracy with which the articulations are set to do even more left than in the first edition. Some curves of the first edition are omitted, others arbitrarily, and others supplemented inconsistent. Many of these additions betray romantic influence. For example, the figure-ur. 1st movement almost invariably equipped with a bow, what style of the early emergence increase time-contrary to the concert. The stereotype of four or eight 16th-and 32nd notes drawn arcs in this direction. It is also not ruled out that a number 'of arcs in a later stage add wor-are the. Of the articulation could only a small part is used for editing. In the musical text themselves were only those published by ingredients labeled as supplements, features that are not covered by any of the sources of variations and missing includes names in source B, the following "critical commentary";. alternative Arti kulationsbezeichnungen-from source C., contrast the "variant readings" only in limited extent reported.

1 See Wolfgang Plath, Chronology as a problem of Mozart research, in: Congress report Bayreuth 1981, Kassel, 1983, 8 371-378.

2 Walter liver, Mozart - Eck - Andri, in: The Music Research 1978, 5 455.

3 Gertraut Haberkamp, the first editions of Wolfgang Amadeus Mozart, Tutzing, 1986, Volume 5 Text 93-95.

4 Prof. Dr. Alexander Weinmann (Vienna) called in a written communication from a print of the plate no. Publisher 355 in Charenton, Paris (Imprimerie Iithographique Vernay), from which will follow a copy in the library of the Paris Conservatoire, where it does not currently on-findable.

5 The bassoonist Milan Turkovi gives in his book Analytical considerations to the classical brass concert by the example of Mozart's Bassoon Concerto K. 191, Munich-Salzburg 1981, Arti-circulations-advice.

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