SYMPHONY SEMINAR – PREPARATION 5

(F-09)

For Monday 12 October

This week’s topic is how people edit 18^th-century symphonies in order to make them available to modern performers. I’ll post xeroxed excerpts from two editions:

Johann Vanhal, Symphony in A Major (A2), ed. Paul Bryan (Recent Researches in the Music of the Classical Era, Vol. 17-18) (M2 .R295, v. 17/18)

Pierre van Maldere, Symphony in C major, Opus 4 No. 2, in Six Symphonies a più strumenti, Opus 4, ed. Craig Lister (Recent Researches in the Music of the Classical Era, Vol. 35-36) (M2 .R295, v. 35/36)

In each case I’ve posted the beginning of the symphony plus some of the editor’s explanation at the beginning of why he did what he did. If you want to read more of the editors’ introductions, you can look at the volumes in the library.

Please write out answers to the following questions:

Are the sources for the van Maldere symphony manuscripts, prints, or both? Are they scores or parts or both?

Are the sources for the Vanhal symphony manuscripts, prints, or both? Are they scores or parts or both?

In the van Maldere symphony, explain how the editor has handled the dynamics at the beginning of the presto (p.30, 3^rd system). What can you infer that he saw in the original source? Which of the “guidelines” on p. xvi came into play in his decision?

Look at p. xvii of the introduction to the Vanhal symphony where it says “ALLEGRO.” What is the purpose of these details about the notes, articulations etc.?

Read Craig Lister’s discussion of articulation in his introduction to the van Maldere symphony (p. xvii-xviii). Now look at the photos of the violin I parts for the other symphony (by Vanhal). What would Lister do about the problem of dots vs. strokes? What has the editor (Paul Bryan) done? What would you do?

PS – A statement of your paper topic is also due next Monday. Turn this page over for details.