Ok. I know the facsimiles have a lot of incorrect notes sometimes so these editors should really have historical notes with corrections. I recommend the chanterelle series of the Regondi concert works by Simon Wynberg. If only he covered the Etudes I see in #4 third measure the F double-sharp, isn't that suppose to be a G#? Starobin seems to think so.Scot Tremblay wrote:Nos. 3 & 4 are from the late 19th/early 20th century publication "Freie Vereinigung..." which is pretty reliable usually and is on line at Boije Collection. No. 1 is there also in a handwritten edition which you can check against Bradfords. I didn't play the two editions of No. 1, only a quick look through but I see a few incidents of editorial license in Bradfords that you might want to weigh against the Boije.
Knowing a little about the 19th century playing style, I think I'd trust the Boije to be more historically correct (ie. gliss in measure 4, g - c, same idea in measure 22, d# - g second string...etc).
I see in #4 third measure the F double-sharp, isn't that suppose to be a G#? Starobin seems to think so.
It is a tough call on the F double-sharp. I just think it's a G# because it just doesn't make sense. I think it's a little too off to be Regondi. Also seeing as this Kurk editor has probably done a few things to the score. I'm still sketchy. I had a "Sonata Mexicana" score which was published by someone (I forget his name), but the cover was red. A lot of wrong notes in the score. The editor seemed to have some fun. I wish Wynberg would cover the Etudes or at least some.Scot Tremblay wrote:I see in #4 third measure the F double-sharp, isn't that suppose to be a G#? Starobin seems to think so.
Hmm, that's a hard one...it's even harder to argue with Starobin as he's the inspiration that got me into the 19th century guitar thing.
The same figure comes back at measure 20, there are hints of the same inner voice at measure 12 A# to G bdl # resolved back to A# and measures 23/24 the F dbl# moving to G# before moving to the cadence at 25.
Personally, even though it really sticks out I like the F dbl#. My instinct says it's correct as written but as I said it's really hard to argue with Mr. Starobin. It's certainly easier on the ear as a G# but...shoot me, I'm sticking with the F dbl#...I guess one just has to go with what feels right in the gut.
There's also a moment in Etude No. 1 at measure 14 that is somewhat controversial. In the Boije the second sixteenth note bass C#. Bradford and others I've heard, go with a C natural. For me it's a more satisfying bass line with the C# but again one must go with ones feeling about it.
I totally agree with you on the Wynberg work. His stuff is great and well thought out. I wonder why he didn't do the Etudes?...Actually I remember being told it had something to do with that other publication, now that I think about it. Publishers not stepping on each others toes and such...
Ray Chester and many others at peabody don't support Ophee as he has botched the Etudes. I haven't seen or bothered playing any from him as Ray said to steer clear of them and my teacher a student of Ray says that he has altered a few things and God knows what else. He claims he found them in a cabin in the mountains and now refuses to let anyone borrow the manuscripts. There have been other editions of the Etudes, sure, but they all come from the origin of Ophees.diewanderer wrote:What's the issue with the Ophee publication? Misprints? I've actually performed study no.1 and no.10 from his edition but now I'm bit apprehensive to play these publicly if the edition contains errors...
Users browsing this forum: CommonCrawl [Bot], Michael Smith and 13 guests