Pablo de Sarasate Zigeunerweisen Opus 20 fiir Violine und Klavier Gypsy Airs op. 20 for Violin and Piano Herausgegeben von/ Edited by Ernst-Giinter Heinemann Mit zusitzlicher bezeichneter Violinstimme von/ With supplementary violin part marked by Ingolf TurbanVv Fragen des Notentestes finden sich in den Bemerkungen am Ende der Ausgax be, Dee-Herausgeber dant allen im Formort ‘undin den Bemerkungen genannten Bi Dbliotheken fir freunillich zur Verfiigung aestellte Quellenkopien, Maria Eckhardt (Budapest) sei fir wertvolle Ratschlige heralich gevdanks, Miinchen, Frithjahr 2013 Emst-Giinter Heinemann Preface Pablo de Sarasate (1844-1908) was bom in the northem Spanish city of Pamplona as the som master. He began playing the violin as a five year old, and made such quick progress that at the age of twelve he was accepted into the class of Jean-Delphi Alard at the Paris Conservatoire, where just a year hater he was awarded first, prize in the violin competition, In the ‘early 1860s he hegam a career as a tray clling vireuoso, with enormously suc~ cessful appearances throughout Europe ‘and in North and South America. Above all, the critics acclaimed his technical perfection and the brilliance of his sound. Even though the major viol tos by Beethoven and Mendelssohn were in his repertoire, and numerous contem- porary composers, such as Balakire, Lalo, Saint-Saéns, and Fa military baad 1 him, Sarasate primarily became fa- 1s for the performance of highly vir~ twoso showpieces, For this reason they also occupy a vental position in his own. ‘output, whic is focused entirely on set ngs for viol ‘ orchestra. and piano, or violin Bare foqunl inter the tnt ehariee of Earopan tre aptly rine p= i fk songs es dance, it com pest Hiss by tris Hangaran Daciano tv orchestra ik nes oh Compe recent centr, be bere doped mice hee hat = inl preted Gyr etsenble 9 HHongy = were dan rs poplin cau can be raced bic Damo a dance ut the er sonzof sider hues beng payed by Gypsy ensembles bck the ate tigen ent, al the “sis” (cially meaning from he wile tavern”), a maletond ipraed dune form vith cle opening (ar inseatngy ap hla muscal dhueetree reported hyn tele with ogacted cod ane Ipreted ern nd acon, ‘og any ote compen wat Frame Live wo dedicated mel et inemivly okie Han lh ter wasgenmaly oruaed Tat "Gypey mi hn Ungar Ration (avgaan Navona Nt) and Panguren Riper Fe pans ik Zip Gate Of nga nein melas ae face ioed y Lit and dap tothe Min The colds as wt ike he “print the ft lin Cpe em nab; on Barend in felon icons pete to tml wt ofthe Zener“ i tml indie cits i inept ths ple. Mabou be pape ver aly alto tu, according proach lel pore theca Satan imeeped rere tate tow obot he pu of the Zigeinenseuen. Al that dow inne isan 31 Jamary 1878 daring omer tue af Garman, Sars sae dhe etogrph fa copy ofthe the Llp ute dlr an publi played piece ilueneed, the 20 for violin and pi idiom, Bartholf Sent for 800 Marks (ef Julio Altalll, Memoria de Sasa Pam plona, 1909 p52}; Seat issued the talon that sare year: The ofchesral version, hawever, wan published on 1881. Beh editions are dedlested tothe former Hungarian Erbassy Secretary Frigyes (Prédétic) Szaevady 62), whose wil, the pianist Wi hhcloine Clauss, hosted a famous musi cal salon in Paris i the 1870, “The musical themes employed sup posedly part of dhe couoary’s popu ‘eultural property sacl with whieh Sara sate probably became acquainted in spring 1877 during a sojourn in Buda- poser Elemér: plume of Janos Németh) claimed au thorship of the melody used in mm.49~ 64, a8 is shown by Sarcsate’ leer of apology, dated 10 December 1833. from St. Petersburg, Sarasate’s piano accom- panist, the composer and pianist Otto Goldschiidt, wrote on his behalf “Me. Sarasate, who does not understand German, instructs me to tell you that your wish concerning the attribution of ‘your s0 heautiful song shall be Fulfilled. Thave already written to Mr-Senff about it. We horeby eongratulate you for your beautiful inspiration. Mr-Sarasate heard the melody from Gypsies, and was cold ‘that it was popular, for whieh reason he used i without further ado” (quoted af- ter the original in: Sérospatak, Hungary Library of the Reformed Collegium, shelfmark 2967). And, indeed, the fol= lowing note was added at measure #9 in subsequent printings: “Melody by Sew lirmay Elemir (sic) dal [= Hungarian: song by] used with the kind permission of the composer.” I is however eonspic uuows that for & 1904 gramophone re= cording of the Zigennerweisen, left out this seetion after a short consul tation with his accompanist (Zigener= wesera, U Past, Paris Gramophone CC. ‘and 61-69 leckin only), All the other melodies and theses used in the Zigeunenweisen were alrealy present i the colleetion of popular pi- ‘ano pieces ($0 Bivdet’ Magyar Zenedar ‘Original Hungurian Pieees) 57-00 piano mb 13attributed to various composers, that was published in Pest by Ede Bartay, the director of the Hungarian National Conservatory, in 1853/54. In the present edition, Sarasate’s bowings and violin fingerings are repro- duced only in the score. Included are a part with fingerings by Ingolf Turban, and an unmarked part. Explanatory notes on the sources and on questions concerning the musical text are to be found in the Comments at the end of the edition. The editor would like to thank all those libraries named in the Preface and in the Comments for kindly placing copies of the sources at his disposal. | am in- debted to Maria Eckhardt (Budapest) for her valuable suggestions Munich, spring 2013 Ernst-Giinter Heinemann Préface notamment Balakir Lalo, Saint-Saéns e dient des ceuvres dy des piéces de salon quill devient célébr ces figurent en bon: propres compositio lon avec accompag Worchestre. Les ceuvres de S marquées par le co pays européens, no miniscences de mé de danses espagnol des accents hongre partition de loin la nerweisen op. 20 p orchestre. Comme compositeurs du X utilise ici des thém musique populaire était cultivée en He par des orchestres sique de divertisse «verbunk: recrutement de jouée par des fort fin du XVII siécl das» (mot qui sigr sue se taverne>), une dar sieurs parties, com (le «lassti») et durModerato Klavier Zigeunerweisen Erwchienen 1878 Opie 20 Amarr legrinahceie SERRE eon wate the thn eu orn Bono ue fet esos ety inherent pers toc saat "gga Sk an Sutra the soca, Yoeitibiangen ele Ar spot verb Gamay Gs Hendra Mee Angra nt mn intaprtation “iin tapsn ends can het ete fetch pert show played yery fel ot ad, wecuedag toes als eat mepe: Le dite den tndes previonent de comesFo paint a tempo nate ried oo ee 4S Z ien retonantcotta partei Un peu plus lent ritard. a tempo fF A 3 ")Aetdr wsinonrahgon Satta te rian) in per te ens ne priate a Peers rany emi dal si] venpeyo Melodie er Scomicmay Hemi dal ‘ger Eeebine der Comyn bona6 70poco Fil BP poco pit ppm2 es a ~t 1 be by‘animes sce hein plus animé l'erese. -1 ab a! gondii A, ieshalb in Ey erst ab ge Jer Bogen gone (ani 1 Angleichung an 43 Sistes rit gem Fy togem gem Ey in A 3.-8. und 11.-26, No- Hey ebenfalls zwei Bi -=M und 11.=26 setilagsnotert anf Z2 1 te uri A, sr den beiden letzten \. I. In Exo jewetls ohne Her drei ~ i Ex: fol in F ur deshall, well Bo- ermate eine Einheit rtin. Neipects pe vl aber Ponto 5.6. Note oline Seac- aber T'72, > mud, Note zaiffer J letzter vach A, in den Dru ich plus animes: in yg und Exo 2018 Comments pm = olin: pf = piano, M= measure() Sources A Autograph sco for violin and piano, engraver’ «apy for Fs. New York, Public Library, shelinark JOG 73-126, Eleven notated pages. one ttle ge and ten pages of music pag- inated in the composer's hand. The title page includes anata tions by the composer and the publisher ‘The autogeaph tele in- ily read Zigeunerosisen pou Tioton | avec accompagnenent | de Piguo, leas, however, chang Fp vo by the publisher by handwit ten additions to aece accompag= anament d’Orchestre | ou de Pana | camposées|par| Pablo de Sa- rasate | Op. 20, "The wark was thus originally conceived aly as the serting with piano, The ttle page additionally displays an sue tograph dedication and the mu: sical character description in French (forthe wording, see the musical text, p. 1, footnote) and the publishers directions forthe engraving, alo including the plate numberof the piano ver- sion: 1380 1381. The tie page vas presumably originally tended fora (not realised?) com position o for the mompose’s handset eopy of eomposi- tion by sonacone else, since the heavi- ut tile: Violn-Con- elt | farte-Piamo, Them cntries by te engraver preparation of the of the version engraving (ie and page been} Fir elton of he version fr ile en pin, ee ee Hoth Sent late manson 181. baud 1078 Ten sith decorative emesis fo, sin? Suan |i nereicen pone Mala ar compuigveni ef Orceate the pn [compoate lpr fade Saran Op. 20 | (boos centre] Prpriié de lewe pour tp | reat frees del Unio eipsig cher ‘Barthel Snf. London hte, (re Eat! Stat Hal. rs Acconpaguenent et Orcesre Pr {vocapealog| [Aree Aoconpag. riemeit de Paro Ph 2 Mk. 30 11980. 1981"The econ page, contains te performance de tion n German and French oe the wording seth sl et pe fctnote). Maia ext bp. 3-11. Copy conned ta, Brs Library. hela h1600.n(1) Solo pt ince in Fy. plate number "13801381, pul tentpp2-8 Reprint of F, nt before 188, Tuk as Fy, bu wth the fll: ado eet on pcan cerning M 49 ff Melt on BeelinyBlemi dela mt gt se Erlanbib dee Conponiter tena, Copy conte. Vienna, Univeniitblnhe, shal mak 56586, Sala pan tocloded in Fy Replat of dhe version fr va id cs (ola Ce peared in 1881 led on eile pegs of, plat umber 1540, te before 1885, Tile page tiallly as Fg, then Avec Aecompa- quien POrcheie Pr Mb | dre dcconpapreneit de Ps Py M230 |Puiton PM Sos [dupa pur Pa ped Pe 1,30, | 1980 1881 1540 E60 Capy conse: Loo- lsh Libary. selinaAbout this edition ‘The score of the fist edition (F) shows only slight deviations f graph (A). whieh sorved as the engray: ‘ers copy. The printed solo part (Fp) di ges in the placement sste's proofreading ~ and adds finger ings. Except for several amendments snr] adjustments to the violin part, ‘which presumably do uot derive from Sanasete, but rather from the publisher, and the abovementioned additional text ‘at M494f, (on p.7 im Fys), the reprint jeal with the (Fs: Fre) is textually i first edition that serves as the primary sourne ~ Py for the piano part, Py for the violin part — for the present edition, The snodel for the violin part in the orches- tal score Pyg engraved three years lnver -wos apparently Fp, The few passages in Fay and Fg that deviate from Fp are listed in the Individual comments. Pa: rentheses indieate editorial additions. Individual comments 3m: Shur over 2"4—3"4 Ling 4m: Slur according to Fp; ends in Fon ot 8 va: Long slur seeording to A and Fy: Fg places slurs over the 5% and 6" notes only in Fp, egroups und boing the next sur on 19 note. in Fy an sever tvew editions, however, dhe log alur ends on rather than bt 15 yn: The placement of rll. follows A and Fy in Fy and Egg iti at 17 pf: p only it A and Fy, 21: a tempo only in Fy tnd Fy 23 vn: 1 sur accor t0-A, Fy in Fye Fre only from 1 = A, Fy ve por tato slur over 2944 J of the notes val print 24 vm: A lacks tie. — Long legato sur wp tab? according to A and Fy extende in Py and Fo 0 28 vn: Fy has rit. already on 14. 6! 31 vn: 1" slur to 3 note eb acoording to Fys extends in F only tothe 24 note d®, presumably because the end of the slur is indistinct im A. 2 slur extend tothe 8 mote bacco ‘to Fys in A and Fy only up to the 7 35 vn; 2" sur from ob? seconding 1 Fy in A indistinet, therefore in Fy only feom gs in Fyp the suri lacking completely (possibly deleted to match M3), ~First rit place! according to Fp and A; in Fy and Fyo n0t until 2! heat 37 vn: Long shur according wo Fy: Aes two slurs (5*-8" and 11-26" 18 hoes); F, and Fy likewise have two slurs (but on 3100 and 1269 ‘aotes). Shuts on grace notes are only in Fo. ° 138 pfi A ns pp on 1" bes 40 vn: + on 2" note only in A, 40-4 Sr el thal om net ay A 51, 65, 9,68 va Fy lacks the idle pyaar 6 Sur neering co Fy: asking in Fypoatly ony eas tiara & eas wuegi an tees 66 pt Aha ita on 2° Maroup in Fronthe 1" group, barch paon Se 83, 125b vm: In A 5""—6" notes are ‘iy ecto dts bat 4 Fy leks» on note, 118 vo: Flgerng number fon the lst ar ny ty 128 mr enly in Fay 1 plus animé according oA, in the pelt nstakealy ples eines 165 wos ee aly ta Fp Ad Pa Munich, spring 2013 Emst-Giinter HeinemannZigeunerweisen Violine Ersehienen 1878, ‘Moderato ~ Opus 20 NE ON F trés passioné ~~ aT ritenuta espressivo & en 1” » f rit. ay GS Pressez

‘Guee Beaucoup W’ expression rit 4 5 7S. mete. = 4 PP —= > PP PPP BS Allegro molto vivace i ourdie) nragicher Hinweis den Drackanngben*) Subrequent note ithe pated olin 1+) Pettit appt einremen dane (wee Preface) epics ear Pos al Hod by Seeaimay Plemeda a), eae sina de Sota He dl [i] F™ tere by itd permis the compas ‘hee Famable porn dn ceroVioline 5 et aa poco pia pp mie -@ plus animé £;