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    Safari - 23.11.2018, 12:07 PDF

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    Paul Erb

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    © All Rights Reserved
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    hoe SAMUEL BARBER CONCERTO FOR VIOLIN AND ORCHESTRA Op. 14 Full Score From the Schirmer Rental Library G. Schirmer, Inc. New York, NY PP eee eee RF >>> >>> >> > >> > PP Pl ee eee eee ee eee ed SP ee eo ooo eee SAMUEL BARBER CONCERTO FOR VIOLIN AND ORCHESTRA Op. 14 (I Full Score G, Schirmer, Inc. New York, NY >>>>>>>>>>>>>>>>>>>>>>>>>" >>> >> >>> > >> > PP Pie ee eee ee eee eed Inseeumentation 1 Flutes (snd doubling Piccolo) 2 Oboes 2.Clarinets (both on A ond B Hat) 2 Bassoons a Horns in F 2-Trumpets in © ‘Timpani/Snare Drum, Piano Sole Violin Strings First Performance by Albert Spalding and the Philadelphia Orchestea, Eugene Ormandy conducting, February 7, 1941 First Performance of revised 1948 edition by Ruth Possele and the Boston Symphony, Serge Koussevitsky conducting, January 7, 1949 Duration: Approximately 22 minutes All rights of performance and broadcast ate strictly reserved. ‘Orchestra parte may be obtained from the Publisher. For terms apply to G. Schirmer, Inc, Rental and Performance Department 3 Old Rovte 17 ‘Chester, NY 845-460-4699 wwwemusicsaleselassical.com Samuel Barbet: Concerto for Violin and Orchestes Op. 14 “Thisedvon ofthe full corto Buber’s Concerto for Violin and Orcheatrabugan in serendipitous manner, de tothe moa partin changer to equipment ured 0 reproduce mts cf orchestral materiel Foe many eat, eeesta por (ar wll ae scoresaccomponying hit mater) wererepadaced uring sdaropeoresr Maer chet coped 08 {Ttranlacene medivm were paced on cop of igh rnitive paper which wa fed through machine nd exposed {2 Vlg the master het ould bereaved andthe photocestve pee Wasthen proceed with an ammonia ‘operating in portveiomge ofthe easter chet. The cipal pects Er this work were epredaced inthis Irarer and for many yes Schisnes provided shee area standard sc fo oncherteal ie materiel “This*emmonia vapor” proceo walter eplaced by photortati(*Keros” type) eproection wth copiers expable running 24" tests peoducig flied sched 'p" conducting sovesae ells" tice echeta pores With the advent of digit! technology, the photertati photocopier eventually beesve outs and the Sversized copies we ried onto reproduce orchesteal atrial were no longer bing produced or mapported by ‘manafacereordtributor Our options were toutlce the gest dg means of reproduction avilable and Tonge began working withthe Kron Dacarech, With the cu shes sie imitation afte ew digital machines, urbe material became 5°65 After i yeats the printed image af the pst tothe Barber Via Concerta ‘Trunk roughly Bn fen ow tad orginally bees copied. ‘Asakey workin both the Schirmer catalogue and the von repetste [decided a now set of pars based on the new 051265" Book specifications should be produced. A contibuting factor in his decision was tht he second rmovement of the ochartral string pots had eginally been copied on 3 ingle page which when printed or wae line bot which utered withthe esltantredscuonef digital reproduction. Thee was se the exonerate ‘realists forthe pats rom MOLA (che Major OechesteaLibvains" Association. ‘When I began this proj | believe it would be elaivly simple ong subwanite any eta engrave a sore from which parte could be extracted extent he nee set of parts then proof the part agin theg9 fl score We would then havea new set of parts that would now mach the 15 score andr lege a 512.05". AS soon a | ‘gun gong throgh threat lists began to question how there cold possibly be so ony errs emaining i set of pats toa work which ws premiered in gt—over ro years ago—that had bee heard ane ecoded mumeroas times and was even conducted by the composer himeel? Inthe rery frst measre a major darepancy found ‘eeween what inthe orchestral ist vein part nd what printed inthe published ul cone elec in 961 ‘became apparent had delve in this work more closely. ‘Ac welackany existing copy fs eve elo prt wth or ire material began to compare the pat curently sold with the plano eedacon sgsinst wht is pied in the 96 fll score I @scoveved that the sao pare and bath ‘eduction from mq and gg contin sexta menue inthe frst maverent between rehearsals nd 6 sod alea ‘ecween hearalns and immediately called Barbar Heyman —arbersbogapher—andtold her whet had Aicovered. She wat very excited to hear hat we were preparing = not edition and shou he covery of hi Aliscrepsney and suggested btn copies of the orginal manoscrigt oe wells Babers personal copy ofthe revied ‘oak score Eom he Libary of Congress and asked me to vit wither co sues the vin concerto, We sea Aieurred to ther Barber sdons in peparstion at thetime “Horizon” and"Commemorstive March and Lam ‘sternly grtefel or hing been able ovr er that September fieenoon, While we relized there could never tes defstivedecuion made regarding discrepancies dos tothe lack of information ae sources which may have Alsnppened over the yees ber advice woe to eroulycouider what we Found in Bashers personal copy “The ates aviable for review at flows ‘ny fll cre manascie completed November 2, 39;00 file tthe Libary of Congress (ining it page of musi messes 6) sot plane sora the pei olections ofthe New York Public Libary ‘su reve all oor Basber’s personal copy ile atthe Library of Congres (Gis docemented that Baber conducted the workin Gereany Go) with Cher Tuner slit) ‘pe revited echerel pars fom he Schirmer Rental Library tou reve edition of the gg pie core for ale Hse) 163 published ul sore (forsale HLsonnn0) (epresen, have noe been se oleate any cemaining material fom the ovginal at ofecheneal parts aad t the ge peemier noc ca locate the slo violin pare prepared for thera reviion) ‘Thefies published edition of this work released by G Schirmer in ig the you following the wor’ premier) seas the plane score and cla viln part with the rducton erated from te ochertrl sor by Baber hl Fivehuedeed cope ofthis pane ecore and velo part were printed, the inventory lating vnghly Five ad half {yeari-A second printing of 34 soi ofthe Birt edition war um whe the inventor ofthe vigil printing a {chausted coming off press on Mayu, pa Barber completed hs revisions tothe work in ate pg upervingthe opyiats working on the score and parts fora performance bythe Boston Symphony ith Rath Parsee slot, whch ook place in Janunry yp Avevied second econ af they then eee in Jone 94, requiring the tock ofthe eeand printing ofthe gins ition be deteoyed. Ou cords indint 494 ‘epee athe seca printing ofthe signal edition were on hand on January, therfore the balla he ‘Sond pining was destroyed. Looking ths time ine, nc bas to quction why Shimer woud pring a second ren of ye copies of the piano score in May of igB ony to have to destay most ofthe inventory less than eae “Merit wea printed? My speculation i tha Schitmer may have been unawreaf Barbe'intenttaevie the work, {rapubierowareofscomporr sitet tosiers werk woxld mot Hkely be hestant—or completely erwiling— Ae tepios an edion knowing sucha lage quaniy of eck would be detayed. “Thepublished fll ove wa elesednspy6andthe lo von prt inthe published source are relatively love yet don mach th sal vilin linen Barber's personal score. Ear the most par che vce ie marae mach, Backers personal core. One can wonder when preparation ofthe published fll score begin and how invcved wae Baber withthe process a that tne? Could i be tat the erita compiled over years indicating coretons tothe parts may or may not be aecarate fhe fll coe was published with alterations made by Schirmer engravers) ‘dos and not xcessarly aprovedby Barber? Thave found that mos ofthe tempo indications prined inthe 38 fallsore match those found the exter published piano scores not Barber's conducting core Thealeraionsto the est movement of the work were at carefully applied to the piano eduction a exes measures rem in the piano rection (and ok part) intwe places. There nase a dicrpancy between te plano reduction and ela pat fold withthe redaction swells te al sore eaeding the lesion of rhearal nomber nthe fret movement Schimer destroyed «compere prin um of the piano redaction in toa upon Barbers 48 eeisons, however twoulthe have een willing io repent that upon dscverng the ne edition dd ot match Baber’ eve coe? ‘Wass poole Babe as shed to eephe works wa rite nthe plano score thes he 96 full cores tomatch the piano reduction? “Theres no dtcrepancy inthe Gast meavore af che work becween the atchesrl fee won par nd Babe's persona sore. Upon reviewing the markings Barber made ia his sor, seems incomprehensible he would ot ve stuck the ist vil poets heist mensie af the pace his score he id oe ntend thee play. The problem stat we donot have every pice ofthe pase ce determine whether his wasa possible chngelater made by Bate rsomething editor may have made o sugested to Barbet. Consteringthecie Barber ‘ook tev the archesel pacts during his tevisions of 148 sa prepsaion ofthe 149 peeformance by Ruth Possl, why sweren' the hte mater ater enerected to “match” the op ul zore—unleae he scare ee what contain “eon orthe choices Barber editors made” Presently noone is nw expable of answering such questions as there isn corerpondence or st of procs which ay shed light on there dsrepancies, In thi edition, chee Rave ‘Seon made forthe mor pr reflecting Barbers conducting sore with the ginal manuscript lwayreeforenced hens question ose [Alter making the revision in ng Barber wrote eh uncle, Sidney Homer, regarding the revisions tating Al {hs tolea god dea of ime andi na lature fx pod things ale new pa cepyist ee Anyways did ie and it smc improved lj euened fom Morton ad Ue performance wos Besutfl ands gest sce ‘Thepeformancevferenced by Barberi of eourse the January ig performance by Rath Fone withthe Boston Symphony, Kousevitaky conducting (eur Conducts Barker ware pratinelasielcr). The orchestal par Schirmer provided fom Sunt this edition war prepared match Barber's personal score and Pores 949 esformance, eis intreting chat ll recordings afer that date, including one recorded live by Poss fa 1963 Felows th 36 published sere Thnowforafac tht comporers make alterstion (mao mies) which may ot say not be documented: A quick cal ode pulliher with some small eral they would ike changed ye ever ttulledinspoafcan be fcitated by the publer.chenyeat lr, when sources at compaedendiaconiensiee Alscovered the answer to "what was the compoue' tue intention” cn be pinully hard to determine. T bo ‘know for act chat published scores arena or fee and therefore, Ta not wing dismiss any source that say contin viable material which should perhaps bein the isl, plished ediion ef a work “This edition contains both aeration and corsctons to the 16 fll sore, Some ofthe differences have bees footnoted inthe score whale others (rue eopying eters subtantited by reviewing Bain’ scores) have simply ‘eenmade The mst changes appeasinche phrasing marks of thesolo vis ine whch ow reflects wha isfound in Baber’ personal score prepared forthe oo performance by Pose, While thet are changes in phrasing and

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