Fingerings could be worse - and there are always alternatives and things you can do to alleviate the problem (including practice). But those that don't wish to play the piece in E - do they ask the entire orchestra to transpose so they don't have to deal with E parts in Brahms 4? -William In a message dated 3/14/2011 9:32:57 A.M. Eastern Daylight Time, [email protected] writes:
Birdalone produced a facsimile of the old print. I own the old print. By the way, I provided them with the third part of the Dauprat Horn methode, which they produced as a big folio format volume with all 3 parts, a wonderful new edition, including the English translation. yes, William, the Krufft Sonata sounds better in E, but the notoric B-flat-players fear to break their fingers when playing in E. Hahaha ! If one has studied violin, this is no problem. If one places the fingers on the keys like wurstel, the problems are perfect as they are when throwing the fingers up or spreading them in the air. ################################################################### Am 14.03.2011 um 14:00 schrieb [email protected]: > Birdalone in the US (I think) published an E version, but the piano part > did not have the Horn accompaniment. I prefer it in E. To me it just sounds > better. Maybe I have synthesesia, but certain keys have different 'flavors' > for me. > > -William > > > In a message dated 3/14/2011 8:38:34 A.M. Eastern Daylight Time, > [email protected] writes: > > Yes, it is. I have rewritten it to my iMAC & have two versions now ready, > in F or in E-flat. > Could also make it in E, the original tonality, but this is published by > Billaudot in > Paris, I guess. I have the two versions ready now. > > #################################################################### > Am 14.03.2011 um 13:25 schrieb [email protected]: > >> This reminds me of the Krufft Sonata. In some ways the piano part is > just >> as difficult as the Beethoven. At least, as I've been told by pianists. >> >> -William >> >> >> In a message dated 3/14/2011 6:43:42 A.M. Eastern Daylight Time, >> [email protected] writes: >> >> Thanks, interesting reading on this cursed day. (If you are outside > the >> US, >> it's the first work day of Day Light Savings Time. So instead of > getting >> up >> at 5 AM, it's 4 AM masquerading as 5 AM by act of Congress.) >> >> -----Original Message----- >> From: [email protected] [mailto:[email protected]] On > Behalf >> Of Gary Greene >> Sent: Sunday, March 13, 2011 9:07 PM >> To: Horn-List >> Subject: [Hornlist] Accompanied Sonatas >> >> >> On 13 March 2011, [email protected] wrote regarding the > Beethoven >> Sonata "I had always assumed that this work was for solo horn with piano >> accompaniment. I was listening to it yesterday and recalled what Hans > has >> said about the Mozart work for string and horn, the horn was part of the >> ensemble. Is that the case the Beethoven that it is a work as much for >> piano as it is for horn?" >> >> The Beethoven sonata, along with his sonatas for cello/piano and >> violin/piano are part of the last gasp of a tradition sometimes called > the >> "accompanied keyboard sonata." In the middle of the 18th century, > keyboard >> sonatas were often given an "obligato" instrument which accompanied the >> keyboard. That is, these were, as Hans points out by given us the > original >> title of the Beethoven horn sonata, keyboard sonatas accompanied by > another >> instrument and not sonatas for a solo instrument accompanied by the >> keyboard >> (which is how we conceptualize them today). These were different from a >> parallel tradition that involved a solo instrument accompanied by > keyboard, >> in which latter case the keyboard part was often simply a thoroughbass > line >> that the keyboardist was expected to realize. Two different views of a >> sonata involving keyboard and solo instrument existing side by side in > the >> 18th century. >> >> Having said that, let me add the expected musicological waffling! :-) >> >> 1. That a work might be entitled something like "sonata for piano with >> horn >> accompaniment" does not mean that the piano part could be played minus > the >> horn as a solo sonata. The horn part is obbligato (obligatory). >> 2. "Accompaniment" did not then carry the negative weight of being a >> lesser >> or merely supporting role. The term would have suggested a >> partnership--chamber music. >> 3. Performers today playing such sonatas therefore should not relegate >> their keyboard players to the background reflexively; it's a joint > effort. >> So, [email protected], the answer to your question is "yes." >> 4. But in some cases, the musical content DOES indicate a subordinate >> relationship of one performer in favor of another, so...it's not a joint >> effort. >> >> So be aware of these traditions but also look at the music to see if the >> composer is communicating a partnership or a lead actor with a > supporting >> player...and be aware that the supporting player is not necessarily the >> keyboard. >> >> One other lesson here: all of this points up the need to know what the >> composer wrote. We usually think of this in terms of pitches and > rhythms, >> but what a composer calls a piece is very often a clue to his intent. > An >> 18th-century sinfonie concertante and a concerto for multiple > instruments >> might strike us today as seeming like pretty much the same thing, but a >> composer then was likely thinking of two different kinds of things when > he >> labeled the pieces as two different genres. Same way when Wagner has > an >> oveture for Rienzi but a prelude for Lohengrin--both are instrumental >> pieces >> that open operas, but the terms overture and prelude signal different >> conceptualizations. >> >> Hope these comments are helpful. >> >> Gary Greene, Ph.D. >> >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at >> > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/bgross%40airmail.ne >> t >> >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at >> > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com >> >> _______________________________________________ >> post: [email protected] >> unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
