Mozart 3 note question
I was just practicing Mozart 3 (Auer edited edition published by Carl Fischer) and I had a question on the A in the measure below. Should there be an octave leap here? The Franko edition doesn't have that leap but I cannot seem to locate the manuscript on IMSLP to confirm what it shows (I believe the holographs were published).
I kind of like the leap; it adds a certain brilliance (the cadenza in this movement looks like a lot fun).
As far as I know, there's no jump of an octave there. The A is repeated in the same octave and the notes through [E] are an octave below the way it's printed in your edition.
And - no accent on the minim or the trill note, no crescendo (usually unnatural at a cadence unless an interrupted cadence or you wish to make a particularly strong statement) and the down beat of E is certainly not ff.
My edition (Barenreiter) does not have this octave leap.
James makes a good point, one that is applicable to everything that has a urtext edition basically
Yikes, no, please get Barenreiter or at the least a more modern edition, maybe Peters.
The Auer edition is very interesting if you want to study how music of the 18th century was played in the 19th century. It can teach you to a degree about how 19th century music was played at the time as well- Auer is particularly associated with Tchaikovsky. However if you are studying the concerto for the first time and not after an 'academic' study into the 19th century, you need to use Barenreiter or a suitable Urtext as your source.
Good thought. That kind of thing would easily have been done by an opera singer, so why not a concerto soloist? (Especially if it was the composer, but that is a whole different problem.)
Mozart wrote it without the octave jump. Mozart is better than Auer. Do what he wrote. The accent is fine though - it’s forte, and should sound strong. I like some of Auer’s editions for the Romantic repertoire (Brahms, Bruch, Ernst, Glazunov, Mendelssohn, Tchaikovsky etc.). I think it’s misguided to say all of Auer’s editions were ‘historically incorrect.’ He did live in the 20th Century and taught a few of the greatest violinists of the 20th Century. Who edits the Henle and Barenreiter editions? Has anyone heard their editors play or heard students they’ve taught? How are we sure they know what the composer wanted? I think it’s impossible to know what is ‘definitive’ without talking to the composer personally.
I disagree about the accent, unless by that you just mean a note with good energy. That bar is imitating rhythmically the very opening bar (of either the tutti or opening solo). Beat hierarchy means that the opening beat/first chord the solo plays is a stronger impulse than the second note, which is then a reaction from the first chord. (This is also why it is not ideal to start the piece on an up bow as it goes against the hierarchy of the bar).
An eye roll for the purists.
Thanks everyone for your helpful comments. This has been somewhat of a revelation for me. Looks like these fifths and thirds before the D major run aren't original either. I did find one recording on YouTube from Kreisler where he makes the octave leap and with a certain element of panache (he doesn't play these fifths/thirds).
An inexpensive way to get a more authentic edition of this Mozart concerto, and many other concertos, is to just look at the cues in the piano part that came with it. Or what I do, get the inexpensive Dover reprint of the 19th century (usually B.&H.) full orchestra score. The print is smaller, but you want to memorize these someday anyway.
What I find most interesting is that an E is pencilled in beneath that top A. Presumably this is to illustrate that the 1st finger should shift first to the E, and then the 4th finger A is put down. However I think this is incorrect... the note should be a D or D# (depending on your hand size) because the fingerboard intervals are smaller the higher up you go. Also the natural friction of your 1st finger sliding from the A to the E will mean that the 1st finger will travel slower than the other fingers.
Good catch! Yes, that's a shift note I have there. I think it's a bit easier for me to shift the harmonic and then place the 4th finger as opposed to shifting to the D and stretching a bit for the A. But then I have downshift on the other end, which risks having the D a bit sharp. Might be better to shift to the D and stay anchored there.
I'd rather anchor myself to the lower A with a 1, and then play on the E string an octave above. Either play the first A on the A string, or just aim for it when shifting. Extra benefits from it being a natural harmonic.
That corny cadence drives me nuts every time Mozart uses it
James - the problem with the Barenreiter editions is that they can frequently be Baren-wronger (to quote a fantastic violinist). The K. 218 edition has wrong notes in the first movement; the Paganini caprices have several errors (which have now made their way into a few recordings); and don't get me started on the Dvorak piano quartet or Kreutzer sonata...
I remember a YouTube with Perlman playing both the octave jump, and the double stops, so probably he just played the whole Auer edition.
No edition is perfect, sometimes things slip through the net. IMSLP is great from that point of view for access to autograph scores and early editions.
Might be nice if there was an edition that had a facsimile of the manuscript similar to the International edition of the Bach S+P. Might be helpful to look at the bowings in particular.
@Andrew Sords - Do you have any examples of where the Bärenreiter has wrong notes in the Paganini Caprices? Bärenreiter corrects the MS a lot of times, but as I recall it without checking, it is in the same places as Peters (1988) and Henle (1990) does it, just to name a few.
Matthias - check the 16th note passages (D vs. D#) in the 5th caprice...and the double stops (E-G vs. E-A) in the B section in the 15th caprice...among others.
Thanks Andre for the examples. In these 2 you mention I have to disagree.
Slightly going of topic here, but the best thing about the Barenreiter Paganini Caprices is the appendix at the back of the 24 Contradanze Inglesi. These turned up in the 1970s by chance, and are not even in the complete recordings of Paganini CDs so far. I believe I was the first to record them .
I love that Barenreiter Caprices edition, though I sadly cannot figure out where I placed it. The Contradanzes addition are indeed appreciated.
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