Wow. There are so many different reasons to object to what is basically a
reading aid little different from cleaning up the scribble and shortening
the notes for modern tastes, the thing that's already happening in a new
edition!

Were there no editorial decisions beyond that? If there were editorial
decisions, does the editor not stand by them? What is the point of the
exercise, then? To make money for the publisher? To encourage performance
of the music? To encourage performance of the music as the editor sees it?
To sell the least offensive document, non-specialists and future history
be damned?

It's going to be criticized no matter what decision is made, if I follow
David Bailey. (And stop being so reasonable, David! How can we fight?) So
what does the editor believe in? How much tampering is being done in the
first place? What's shown and what's hidden? Shall we get started on
intonation and singing the ficta business, or is that more editorial hands
off? Just for sophisticates?

The whole issue of the printed page is bizarre. Yesterday I had the
unique, um, pleasure of recording a concert of eleven professional string
players who played Vivaldi (among other unmemorables, including the
"Diamond Symphony" -- yeah, that one). They played the Vivaldi from the
score they had. Exactly. Not a single ornament. It was so dull my teeth
hurt (mostly because my teeth were hurting anyway, but there was nothing
on stage to distract me from noticing).

I remember singing the alto solo in Messiah with ornamentation here in
Vermont in 1978 or so (back in the days when I could still sing that
part). It was a scandal that I had tampered with the notes. What I'd done
wasn't on the page!

So what is expected? That the sophisticates want a skeletal version onto
which they can hang their ornamentational or chromatic laundry? And that
the non-sophisticates are given no guidance or suggestion?

And performers complain that we composers can be so insistent on so many
details in our scores! Any wonder?

Dennis


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