I am fascinated by the wine-journey-music lifestyle of Weber, so his
music.
The music scores of Weber's concerti that I bought about 10 years ago
are pretty "good" because the articulation marks (legato lines, staccato
dots, etc) and ornamentations we can hear from the nowaday performances
are not printed. What that means? Of course my scores are closer to
Weber's manuscript. He is pretty flexible about articulation as long as
the performers choose musically reasonable approach to articulate the
passages. As the ornamentations, the performers should know where and
what to play according to the performance practice of the early 19th
century. (then you can play those pieces according your own knowledge,
not some famous editor's ideas)
Mmm.... I bought those scores because I felt they are more
"original", that was my instinct 10 years ago.
So I took the music to my clarinet lessons and played those concerti
in front of my teacher at that time. My teacher saw the music kind of
clean, he told me, "let me put the Baermann's interpretation on your music".
So basically he sang through the pieces and put things there (without checking
anything). So I was happy and played according to "Baermann's" interpretation.
Yeah, the marks he put on my music are not the same as any one of the
recordings you can find. Yeah, perhaps you cannot find two performances
played with the same articulation and ornamentations. Yeah, I don't
believe he really knew what Baermann did 150 years ago, measure by
measure, note by note. Who knows?
So whenever I look at the music of Weber clarinet concerti, I knew
I had a "should be original" edition but now with many pencil marks which
make them not too different from those edited by some clarinetists.
ps. I am careful enough not to talk about Beethoven again, ain't I?
Hsuan-Yi Chen
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