|SOURCE: scan of 2013 printing|
|SOURCES: bb. 6-7; cropped digital scans of first ed. Leduc piano score, p. 1 (left) and second ed. Leduc piano score, p. 1 (right)|
What is frustrating about this is that it is merely the product of laziness: it would take a little more time at the computer to arrive at the configuration of the first edition, and the setter apparently didn’t think it was worth it. The version on the right is marginally easier to play, but I think that is the only thing I can say in its favor.
There are a number examples where to me the changes in the notational configurations in the two Leduc editions do not amount to improvements, but I will consider just a few here.
|SOURCES: bb. 47-48; cropped digital scans of first ed. Leduc piano score, p. 3 (left) and second ed. Leduc piano score, p. 4 (right)|
|SOURCES: bb. 131-32; cropped digital scans of first ed. Leduc piano score, p. 7 (left) and second ed. Leduc piano score, p. 9 (right)|
|SOURCES: bb. 227-28; cropped digital scans of first ed. Leduc piano score, p. 12 (top) and second ed. Leduc piano score, p. 14 (bottom)|
ärenreiter edition the piano reduction has been entirely rethought with an eye toward simplifying it down to something reasonable—even though the editors acknowledge that the Leduc first edition piano reduction seems to have been the work of Glazunov himself rather than “A[ndre] Petiot,” to whom the Leduc editions have given the credit. Thus the Bärenreiter “Urtext”—and a very good edition it is in many respects—has jettisoned the authentic piano part. Although the “Urtext” label appears on the cover, the title page is more accurate: “With an Urtext Solo part... Piano Reduction based on the Urtext.” (There is a critical report included in the corresponding urtext full score, but there is of course not one for the new piano reduction, which also lacks a description of the sources. Martin Schelhaas seems to have used the second Leduc edition as his starting point, but the result is a wholly new and worthy reduction.) This piano reduction also includes an additional soloist part (i.e., non-urtext), edited for performance by Carina Raschèr, daughter of Sigurd Raschèr, for whom the work was written.
This publication is not the strongest in the Bärenreiter catalogue (as even without hunting for them I found small errors in both the musical text of the full score and the critical report), and it is even more curious for its mixture of urtext and practical approaches. (I will return to that particular dilemma in my next post.) Nonetheless, it is not the focus of this post, and it is in any case better than the second Leduc edition. I find it extremely irksome that Leduc would reissue the work, bearing the same plate number as the first edition but with an inferior presentation of the text. The Leduc standard has been lowered, although perhaps not to half-mast.