56. Plucky and adventury

A few weeks ago, I was listening to a recording of Handel’s op. 4 concerti featuring organist Ottavio Dantone directing the Accademia Bizantina.  I admire this recording a lot and encourage you to give it a listen.  (At the moment, at least, it is freely available as youtube playlist).  As the soloist, Dantone takes pleasing liberties in embellishing the notated text, and his playing has opened these works to me anew—works I thought I knew pretty well since my teenage years.  The musicality of Dantone’s interpretations is inspiring, especially the insouciance with which he takes the Andante of op. 4 no. 4:  I would never have had the courage to take it that slowly until hearing him do it.

But I was totally unprepared for one particular Dantone liberty:  as the B section repeats in the Gigue that finishes up Op. 4 no. 5, suddenly the strings of the orchestra are plucking away (at 01:24 on this video).

  Here’s an attempt at capturing what is going on at this moment of the performance:

SOURCE:  Handel Op. 4 no. 5, mvt. IV, bb. 11–16, as given in the Deutsche Händelgesellschaft edition, v. 28 (1868); in red-ink, I have notated my guess at what Dantone has interpolated; it is derived wholly from bb. 1–2 of the movement (not shown); it ignores the 4/2 harmony of the figured bass, but as Dantone is not realizing any figures anyway, it doesn’t seem to matter.

This is a textual interpolation that has no basis in any of the sources; it is entirely the fabrication of Dantone or someone involved in his recording.  Effective though it may be (and I am not convinced that it is), it arrested my attention because I don’t associate Handel with such use of a pizzicato tutti.  I don't know enough Handel to know how characteristic pizzicato is in his music—as an orchestral effect, I mean—but I dare say there must be some moments in the operas.  [See ADDENDUM.]  In any case, this stands out to my ears.  I have written previously of an interpolation that leans on the side of “too clever by half,” and this one goes in that category.  

But hearing it reminded of another pizzicato example that I had meant to track down:

Once again, this was music I thought I knew.  I have known Trevor Pinnock’s recordings of the Bach harpsichord concertos for a long time, first on audiocassette and then on CD.  The credits on that recording indicate that it employed the BG edition (1869), and in the late 1980s that was what was available to me through the Dover reprint.  I got to know those works very well, and had never heard or seen any pizzicato at this point until I was given the Rousset/Hogwood recordings many years later .  I was puzzled when I pored over the Bärenreiter facsimile of the autograph (which is somehow more inviting than the same scans available on Bach Digital): again there was no sign of pizzicato at this point.  But I guess I had not ever looked carefully enough at the NBA, because there it is all for all to see:

SOURCE:  composite of marked-up scans showing portions of pp. 208 and 209 of NBA Ser. VII bd. 4 (1999), showing BWV 1056/iii bb. 1–16.

I will grant that I associate a pizzicato orchestral texture more readily with Bach than with Handel.  Two examples that came immediately to mind are the knocking-on-the-door recitative from BWV 61 (which Bach marks as “senza l’arco” [“without the bow”]—the effect if not the term “pizzicato” [literally “pinched”]) and the gorgeous Adagio from this very concerto, BWV 1056.  Incidentally,  the NBA score erroneously lacks the instruction that the accompaniment in that movement is pizzicato (corrected on in an erratum on p. 214 of the corresponding Kritische Bericht volume).  The autograph has the instruction “pizzicato” above the first violin staff, and we may reasonably apply that instruction to the whole ensemble, but there is no true confirmation without the original string parts, which seem not to have survived.

SOURCE:  scan of p. 13 of Schulze’s Peters edition of
BWV 1056, showing the opening of the Largo.

All of this leads nicely to my theme, which regards moments of which there is some confusion in editions about whether the orchestra is arco or pizzicato; but as this particular example led me down a rabbit hole, I want to digress for just a moment to comment on the NBA text for this concerto—which is really a conflation of two sources: Bach’s autograph and a curious manuscript copy by J. N. Forkel in which the work is transposed up a tone.  It is too much to detail here, but peculiarities both of notation and readings in Forkel’s copy make it unlikely that it is connected to the hypothetical earlier version of this piece, often presumed to be a violin concerto in G Minor.  It is Forkel’s copy, apparently, that introduces those pizzicato echoes in the last movement, heard in the video performance above.  Perhaps it was not just the novelty of that instruction that caused the NBA editor, Werner Breig, to incorporate it into the new text; in any case, the NBA largely agrees with an edition from 1976 edited by another great Bach authority, Hans-Joachim Schulze.  Schulze, it seems, was the one who reassessed the value of Forkel’s copy, and the highly ornamented version of the melody of the slow movement has become the standard text for the work directly because of Schulze’s digging and advocacy.  Because the NBA essentially transmits Forkel’s version, that has become the text to play; indeed, the NBA relegates the (it would seem deficient) final reading of the autograph of the Adagio to an appendix, and the reconstruction of the yet-earlier reading to the critical report.  This movement (also familiar in another version as the opening sinfonia to BWV 156) deserves a post of its own, especially in the light of revelations by Ian C. Payne and Steve Zohn that it is actually Bach’s parody of a work by Telemann.

Here endeth the digression.  The other examples I want to consider involve instances of confusion about whether something should be bowed or plucked.  Both textures are effective in themselves:  part of the strength of the passage near the end of the scherzo of Beethoven’s fifth symphony when the texture tapers into almost-all-pizzicato is that we've already heard those same musical ideas in a more robust arco.  It is a thrilling moment.  

That is a justly celebrated example, of course, and even the worst editions are clear about Beethoven’s instructions.  But what of this moment at the end of the slow movement of his seventh symphony?

SOURCE:  cropped scan of p. 54 of Beethoven, Sym. no. 7, op. 92 (Mvt. II, bb. 265–278), ed. J. Del Mar (Bärenreiter 9007, 2000).

The surprise here is the first violins, specifically that last e, which is a canonic imitation that starts in the basses and cellos, quickly working its way up through the strings.  Jonathan Del Mar’s edition, reproduced above, indicates that that e is still pizzicato, and that the arco does not start until the f-sharp, already in the middle of this motif.  (Note that the second violins are the only ones to present this motif here arco—the lower strings are still pizz.)  Crazy?  Absurd?  Bizarre, certainly.  But, as Del Mar takes pains to point out, the autograph here is not at all ambiguous:

SOURCE:  corresponding page from Beethoven’s autograph, as reproduced and captioned in Del Mar’s critical commentary, p.14; I have added the red arrow.

He notes in the critical commentary that all authoritative sources agree on this, including the first edition, remarking:

“However felicitous this [change to one beat earlier] seemed to 20th-century ears (so that it is even perpetuated in Ub [=1994 Breitkopf Urtext]), it is important (a) to remember that it has nothing to do with Beethoven, nor is there any reason to suspect an error (b) to take account of the fact that it relied for its effect on a wholly spurious hairpin crescendo added to both Vl 1 and Vl 2 Br [=1863 Breitkopf] parts (though not the score) in 275.”

And indeed, here is a comparison of this moment in the old Breitkopf score and parts, using the scans available on IMSLP (which, for the parts, come from 20th century reprints of the 1864 parts):

SOURCE:  marked-up composite of details from scans of 1863 Breitkopf score p. 44 (from IMSLP #57874) with
 Vl. 1 (IMSLP #19906) and Vl. 2 (IMSLP #19907) parts, showing bb. 273–78.

Even those performers who are aware of what Beethoven wrote (not just what Breitkopf printed) may shy away from his instructions.  David Zinman, for example, whose recordings proclaimed their use of the new Del Mar / Bärenreiter edition, opts to let everything remain pizzicato to the end of the movement:

Perhaps a justification here is that the arco markings are in pencil, and thus written in at some point after the initial notation of the notes:

SOURCE:  cropped scan of p. 126 of Beethoven's autograph, PL-Kj Mus. Ms. Beethoven Mendelssohn-Stiftung 9, available as IMSLP #888719 (scan p. 132).

This is actually a pervasive occurrence throughout this manuscript, as Del Mar observes:  “Unusually for a Beethoven autograph, many essential features of the music (e.g., almost all II 110–34 Fls, Obs, Cors) were written first in pencil, then (mostly) inked over; these are obviously contemporaneous with much of the ink composition, perhaps when for some reason Beethoven simply did not have a pen with him” (Critical Commentary, p. 21f.).

Claudio Abbado, however, obeys the arco instruction exactly as written in this 1999 recording:

Simon Rattle does the same, in this recording from 2002:

To my ear, the effect of delaying the arco is to heighten the dissonant clash of the f-sharp in the first violins against the a-minor triad in the winds, and to downplay the contrapuntal element:  yes, the motif is still presented in canon, but it sounds less so.  It sounds perfectly musical to me either way.  I suspect I prefer the delayed arco for the wrong reason:  that everyone has been doing it the other way.  But this isn’t just a case of rooting for the textual underdog.  It is just what Beethoven wrote.

And I understand why the consistent reading has lasted.  It seems odd—and without the scrawl on the autograph manuscript, we’d put it down to some error in transmission.  Here’s a case in Mozart where without the autograph we might also question the reading:

SOURCE:  cropped scan of Mozart, K. 488/ii bb. 84–87 as in Wolfgang Amadeus Mozarts Werke, XVI/4 (Breitkopf 1879), scanned from Dover reprint.

That is the way the old Mozart edition prints it.  And this is a famous moment in this movement, a place that seems to be crying out for the pianist to embellish the solo line, and that is what usually attracts my attention in a performance of it.  But underneath the solo, what the autograph reveals is that the violins are not pizzicato, though the rest of the strings are.  (In the autograph, the violins lack the pizzicato instruction in b. 84, and the consequent return to arco in b. 92.  I’m not going to use up the space to illustrate that here, but you can check it out for yourself, as a scan of the autograph is available as IMSLP #293132—see pp. 52 and 54 of the pdf.)  It is an odd effect, and the reading of the old edition is more what one would expect.  But, as Emerson wrote, “A foolish consistency is the hobgoblin of little minds.... To be great is to be misunderstood.”  And of course there are people still playing it in that misunderstood, nevertheless consistent, way—with everybody pizzicato:

But there are also plenty of orchestras who play the accompaniment that Mozart actually wrote and as printed in the NMA, and I find that effect a little thrilling even, although I admit that now I don’t pay as much attention to the soloist:

For what it is worth, there is a similar texture in the finale of the Mozart piano concerto that immediately preceded this one, K. 482.  In that instance, all the strings play the eighth notes pizzicato, and the solo piano has the syncopated figure:

SOURCE:  cropped scan of Mozart's autograph of K. 482/iii from IMSLP #384760, showing bb. 252–60.  Strings are on the top three staves and the very bottom, with the solo piano right hand on the third stave from the bottom.

This texture is much more straightforward—all strings pizzicato—so I would be surprised if any edition got it wrong.  If you want to hear it:

But I will close today with one of my favorite early eighteenth-century moments of orchestral pizzicato—this charming movement by J. S. Bach’s contemporary Johann David Heinichen (1683–1729).  It is an intriguing and adventurous texture, as the score instructs that the pizzicato violins are doubled by both flutes and recorders (two of each on both the violin lines are requested):

SOURCE:  cropped scan from IMSLP #401983 p. 22, showing the beginning of the third movement, alla breve, of Heinichen's F Major concerto, S. 235.

And here’s a performance which should brighten anyone’s new year:

ADDENDUM 02 January 2025

I am grateful to Byron Adams for immediately pointing out a Handel tutti pizzicato example: “Tune your harps to cheerful strains” in Esther.  It was exactly the sort of thing I had been looking for.

55. If you come to a fork in the road, take it

That line by Yogi Berra might as well be a motto of this blog:  much of what concerns me here is the comparison of variant readings, the dividing of the textual stemma.  And, unlike Kermit and Fozzie—or Robert Frost, for that matter—in this blog I can “take” as many forks as I come to.

Every year since this blog started in 2016 I have managed to get in a Christmas music post, and this time it’s virtually the last minute.  I was reminded last week of a textual curiosity in “Stille Nacht” (“Silent Night”), and it may not be the oddity you’re thinking about.  It wasn’t the familiar ending—the “Sleep in heavenly peace” melody, which is well known to be different from the reading in the autograph sources.  (At least eight autograph manuscripts are documented, but some are no longer extant.  If you want a deep dive into all of this, a 64 page bilingual booklet is available as a free pdf download from the Stille Nacht Gesellschaft.)  For a performance that tries to reconstruct an original 1818 version, here are members of the Taverner Consort (under the direction of Andrew Parrott, one of the editors of the New Oxford Book of Carols, where this version is published).  Listen especially to the penultimate phrase, which is also repeated when the chorus comes in.

But that wasn’t the variant that interested me this time.  It was this:

SOURCE: cropped scan of Glorious Things in Sacred Song (1886), p. 25 from hymnary.org

Okay, to be totally honest that wasn’t exactly what my eyes fell upon, but I chose this particular exemplar to use on the blog because it manages (with some strategic repeats) to fit the whole thing in a single system across the page.  I also appreciate that it gives a source attribution:  Devotional Harmonist, which was apparently the first American printing of the tune, according to the Stille Nacht Gesellschaft.  Upon locating it, I confirmed that Glorious Things had made a few changes and actually introduced an error.  (Can you spot it?) What interested me is marked below.  

SOURCE:  marked up screenshot from archive.org of Devotional Harmonist (1851), p. 373

Much to see here.  Note that it is a different, very free translation of Mohr’s original text.  And, as in many hymnals of this sort, the melody is presented in the line immediately above the bass—which is not the same thing as “the tenor voice.”  (But don’t get me started on that.  Actually, I have already started on that; since that didn’t help, here’s this.)

These dotted rhythms in bars 3–4 reminded me of books I used to play out of in my childhood that had those same figures.  It strikes me now that it has been years since I have seen it printed that way.  It is as if these dotted figures have been ironed out of the textual tradition.  And yet referring to the hundreds of page-scans on hymnary.org, I found dozens of examples (up through the 1940s) that preserved those dotted figures, which seemed to persist particularly in midwestern US publishers issuing very inexpensive hymnals and songbooks.  (I’m out of my area here, but I’m guessing that sometimes they were reusing the same stereotyping from one book to the next.)

Those dotted figures now seem odd.  The autographs do not have that reading, so the figure isn't “original.”  At first I wondered if they had been introduced in order to accommodate an extra syllable in a translation to some other language of this universally beloved carol.  But no—there it was, already in the first known publication of the carol in the early 1830s, German text and all:

SOURCE:  page scan of Vier ächte Tyroler Lieder (Dresden, c. 1832), the whole of which is available as a download from Martin Luther University Halle.

That publication was associated with the Strasser Family Singers, one of two groups whose performing tours had the effect of disseminating the tune widely in Europe and North American.  And note that it has the “Sleep in heavenly peace melody” as we regularly here it today.

Of course a lot has been written about this carol.  Indeed, I see that Norbert Müllemann wrote on it for the Henle Blog in 2012, and there he compared the first print readings with the autograph.  He mentions these dotted figures in passing:  

“... the print shows odd ornamental-like dottings that are presumably to be executed glissando-style and may possibly reflect performance by the Strasser family (and, incidentally, that of singers of our time).”  

I think he’s probably right about that.  What that notation suggests to me is a portamento rather in the manner of George Jones singing “She thinks I still care”—gliding gracefully down to the new pitch just before it would be called for in the meter:

It is not puzzling that these dotted figures have disappeared from the textual tradition; as I (and many others) have said before, the rough places tend to be made smooth with use.  In so doing, bars 3–4 returned to something more like the melody of the several autographs, while the “Sleep in heavenly peace” deviation has persisted.  In this, I am inclined to agree with Müllemann’s conclusion:

“So, doesn’t an Urtext edition have to re-establish ‘Silent Night’ in its authentic version and free the melody from later interventions? Clearly, the answer is yes. But we don’t want to be pedantic here. A good edition must, on the one hand, also document established readings, even when they are not authentic. On the other hand, the composer Gruber might well have approved the second version – it did after all appear in his lifetime. Finally, we must admit that possibly the application of rigid Urtext principles may not apply in the case of song literature undergoing popular dissemination. In short, perhaps we should again be made more strongly aware of Gruber’s original version and properly appreciate it. But in this case no one really wants to condemn any sort of adaptation. In this spirit:  Merry Christmas!”

Amen to that: no need to choose a fork here.  And to all a good night.

49. The sound of (editorial) silence

There is a temptation for an editor to select a variant reading that alters the sound of a work enough to be audible to musically-sensitive listeners.  (It provides for a certain frisson: “They’re playing my edition!”)  Some years ago I discussed Thurston Dart’s edition of the “Brandenburg” Concertos as an extreme case of in-your-face textual difference.  This is an temptation I had to learn to resist when editing—being different for the sake of being different.

I stumbled across an example the other day.  I had been reading Christoph Wolff’s new book, Bach’s Musical Universe.  I was struck by this passage, which concerns a group of chorales associated with the lost St. Mark Passion:

“Moreover, their manner of four-part chorale harmonization shows a consistently greater degree of contrapuntal intricacy and rhythmic animation than Bach had typically brought to bear in the past, particularly in the inner voices—a trend that would continue in the Christmas Oratorio.” [p. 226]

It never occurred to me that Bach’s harmonizations “improved” as he aged.  Yet it brought to mind an e-mail exchange I had with a music theorist friend about a year ago about particular favorite Bach chorale harmonizations.  I had said then that my favorite—if I had to name one—would be the closing chorale of the first part of the Christmas Oratorio, a setting of “Vom Himmel hoch da komm’ ich her.”   That setting punctuates each phrase of the melody with a fanfare of trumpets and drums—which I once liked very much, but which now I regard as an intrusion on the real stuff, the harmonization.  (In any case, the fanfares are striking, as they seem at odds with the text:  essentially “Make for yourself a clean, soft bed in my heart, O sweet little Jesus, so that I never forget you.”  (As a further aside, my guess is that it was this thirteenth strophe of Martin Luther’s hymn which somehow gave rise to the false idea that Luther had authored “Away in a Manger.”  He didn’t, but the sentiment is there.)  Some conductors—Ton Koopman on the video linked above, and John Eliot Gardiner are examples—downplay the trumpets and drums, as if not to wake the baby.  But I think Philip Pickett is right to have them thunder away:  the effect is not of a newborn but rather the King of Heaven beating on the door of my heart.)

I love this harmonization, particularly the last two phrases.  Spurred by Wolff’s commentary, I pulled it out again and played it on the piano a few times.  The next day it was on my mind as I walked to my office, so when I got there I pulled the Dover reprint of the BG edition of the shelf and played it anew.  And right at the end—Is this a misprint?  What is that D doing there?

SOURCE: BWV 248/ix, bb. 10–15; cropped scan of BG bd. 5 (ed. W. Rust, 1856), p. 48; from ISMLP #02418.

The D may at first appear odd harmonically:  the tenor crosses below the bass to produce a second-inversion subdominant chord.  But assuming that the continuo bass line has some instruments sounding an octave lower (double bass, organ?), then the true bass line is still below the tenor; thus no such solecism has occurred.  The voicing is unusual, but the harmony at this cadence offers no surprises.

SOURCE:  cropped scan of NBA II/6, p. 54
(ed. W. Blankenberg and A. Dürr, 1960) 

I wasn’t expecting the D because it is not what I grew up hearing.  (The D is on the Koopman video above, though.)  What I heard for years is the reading in the NBA, where the tenor steps down to a wonderfully dissonant E.  I love that chord.  Now instead of IV we have ii, and my argument about the second-inversion is undone.  If we disregard the 16-foot doubling in the continuo line, the tenor becomes the bass of a (very proper) root position chord; but if we account for the octave doubling, we have an unexplained second-inversion chord.  That notwithstanding, I think it is a gorgeous effect.  And so I found myself wondering how it came to be, given that it was not in the old edition.  What was the story?

I turned next to the NBA critical report, which states that the autograph manuscript shows a correction from the D to the E, although the manuscript parts (tenor and viola) transmit the D.  Hmmmmm...  Let's take a look at that autograph....

SOURCE: enlarged details from D-B-Mus.ms Bach P 32, Bl. 12v (from Bach Digital).  The detail on the left shows alto, tenor, bass, and continuo staves for bb. 11–13 of no. 9; on the right the fourth tenor note of b. 12 is further enlarged.

So... is that a correction?  To my eye the D [we are in tenor clef] remains much clearer than the smudge that is alleged to be an E.  I will admit that the smudge is rounded like a note-head, though it appears a different color and much lighter, and would have to have been made at a different time, maybe unintentionally.  When Bach isn’t able to make a correction appear unambiguous (as, for example, the B which replaces an A as the very first choral bass note in the example above), he does something to clarify it—as he does elsewhere on this same page.  In this instance, Bach’s second thought was to let the third trumpet leap up rather than to repeat the same descending figure, but as the ink was smudged in the process, he clarified by indicated that the intended note was C.  (The lower C was sufficiently obliterated.)  

SOURCE:  same page as above; this detail is bb. 2–4 of the trumpet and drum staves. 

So why, then, did he not write the letter E in bar 12 to clarify the tenor correction?  

Because it wasn’t one.  Sometimes a smudge is just a smudge.  Indeed, for a blissful moment I thought it might just be ink bleeding through the paper.  Here is a side-by-side comparison of the same detail of the Bach with a mirrored image of the other side of the page—mirrored, that is, to facilitate comparison of markings which are bleeding through:

SOURCE: marked, cropped scans from P32.  Left is the same image as above; right is the corresponding portion of the other side of the page (f. 12r).

You can see the shadows of a lot of the markings bleeding through, the clearest of which I have marked with red arrows.  Conspicuously absent, though, is any mark to bleed through to create the “E” smudge:  I have circled that spot in blue.  But keep fol. 12v (with the chorale) was the last page of a fascicle, and it shows signs of other ink transfer (marked in yellow)—having been put down on top of something else. My guess—and it can only be a guess—is that the “E” smudge (which is very close to the area marked in yellow) is a similar offset transfer.  In any case, it's not an E.

If that smudge were an E, Bach’s figured bass should reflect it.  The figures transmitted in the continuo part (not in the score) show know signs of alteration.  (Those figures appear in both the BG and the NBA examples above.)  Nothing accounts for the E in the harmony; and in no other source is an E transmitted.  If this was indeed a second thought, Bach apparently didn't think it was important to have anyone actually perform it.  But I would argue instead that this reading is the wishful invention of Walter Blankenburg and Alfred Dürr, editors of that volume of the NBA.  I’d hate to see it go; I think it sounds fantastic.  But it has no textual authority, and is thus usurping the rightful place of the authoritative D.

All of this is a lot of words spent on a single quarter note; but it is an example, I think, of an editor opting for an audible difference even without the evidence to support it.  For a considerably more egregious example, get a load of this:

SOURCE:  cropped scan (p. 61) of BA 10303-01, C. Saint-Saëns, 3e Symphonie en ut mineur, op. 78, vol. 3 (ed. Michael Stegemann) of Camille Saint-Saëns:  œuvres instumentales complètes (Bärenreiter, 2016).

This new critical edition of Saint-Saëns’s “Organ” Symphony is marred by an astonishing number of typographical errors; it really merits a post of its own just for that reason, and maybe I will get around to that someday.  But what appears above is not an error.  It is what the editor (Michael Stegemann) meant.  In case there is any doubt of that, here is the remark in the critical commentary, together with my scrawled commentary in the margin.  Pardon my French.

SOURCE:  cropped scan (p. 206) of BA 10303-01 plus pencil annotations

On no authority whatsoever, Stegemann interrupted the composer’s very carefully contrived legato arpeggio, inserting a break right before the downbeat of b. 365.  (Say what you like about it, it is an audible change.) Other than the dotted-slur in the cello, there is no indication on the page that a change has been made, and users who do not consult the notes—or who do not already know the piece very well—will be none the wiser.  This edition has been issued as a much less expensive offprint, and Bärenreiter reports to me that typos (all of them?) have been corrected, but that edition appears without any of the critical commentary.  Users who trust the “Bärenreiter Urtext” marketing (“the last word in authentic text”) may well assume this represents responsible editing.  Caveat emptor.

If Stegemann had left this text as he had found it—if, that is, it appeared as in all other sources (including the first (1886) and second (1907) editions, issued by Durand)—he would not be neglecting his editorial duties.  An editor is still doing the job even when the decision is made to let any given reading stand without alteration.  But maybe an editor only feels like an editor in the act of emending something.  What is the sound of an editor not changing the text?

A few weeks ago I was amused to see someone in a Facebook group posting their various complaints about eccentric readings in “the Bärenreiter edition” of Handel's Messiah.  (What the post referenced is the vocal score published by Bärenreiter, which is a reduction of the text of the Hallische Händel-Ausgabe (the HHA), but the textual decisions are not Bärenreiter’s editorial responsibility.)  The person was essentially complaining that this is not the textus receptus, and that Bärenreiter should just “get in line.”  I suppose the Novello edition is the closest thing to a standard edition now, having (in this country) replaced the old Schirmer edition.  But people use all sorts of editions all at once, and a few years ago in this blog I was grumbling about orchestral players bringing their own partbooks from different sets—leading to a chaos of conflation in performance.

A particular example the writer cited was from the climax of “the Hallelujah chorus.”  Here is the reading of Bärenreiter vocal score:

SOURCE:  cropped scans of pp. 247 and 248 of the HHA vocal score of Messiah, ed. John Tobin (Bärenreiter, 1965).

The textual surprise here:  the words sung in bb. 76-77.  We expect “and Lord of Lords,” yet we get “and He shall reign.”  But the HHA is a scholarly edition... or rather it became a scholarly edition after a rocky start and a number of superseded volumes.  The editor of Messiah, John Tobin, thus had no interest in what people have come to accept as Messiah.  He was interested only in what the authoritative texts convey.  My advice:  If the user doesn’t want to put up with a scholarly edition, then buy something else instead.  There are plenty of alternatives.

Perhaps “and He shall reign” is not what Handel intended here, but Tobin did not make the choice capriciously.  Here is this passage as it appears in Handel's composing score:

SOURCE:  scan of British Library RM 20.f.2, p. 205 (scanned from Bärenreiter facsimile edition).

Observe that both texts appear:  “and He shall reign” below the altos, “and Lord of Lords” below the tenors, and “and He” below the basses.  This bass “and He” is the only one in Handel’s hand.  The alto and tenor words have been inserted by his assistant, John Christopher Smith—and the smudge indicates some degree of uncertainty.

Smith was the copyist of the conducting score, a fair copy with some autograph insertions of new and revised movements, and a host of other markings in the composer's hand.  Here is the relevant page:

SOURCE:  scan of GB-Ob MS Tenbury 347 f. 96v, from the Scolar Press facsimile (1974).

Here there is no ambiguity.  Maybe Smith got it wrong, but there is no sign of correction here.  Tobin thus felt justifiably obligated to print “and He shall reign” (as did some of the earliest editions) because that is what the most authoritative sources transmit most consistently.  If you don’t like it, tough.  You don’t have to sing it that way; alter as you see fit, but don’t complain about a scholarly edition being scholarly.  

This issue of sticking with the authoritative text—come what may—has now hit home for me in a new way.  In the last year, I have been asked to assist with the completion of an edition that is already 75% done.  It is a critical edition of Princess Ida, a Gilbert & Sullivan opera that premiered in 1884, the immediate predecessor to The Mikado.  It is a scholarly edition, although with vocal score and orchestral parts prepared to facilitate its use in performance.  I have a student assistant; her first task has been just proofreading the text of the full score as it has been set against Sullivan's autograph.  She has done great work with this, and it is so good to have another pair of eyes on this sort of project.

A few weeks ago I got a text from her:  “I had a question about the lyrics, but we can discuss it another time if you're too busy.”  I was intrigued, mainly because the lyrics are not our task at the moment.  This edition has a policy of “divided authority”:  the autograph full score is the principal authority for the orchestral parts; the second state of the first edition of the vocal score is the principal authority for the vocal parts, the lyrics, and the text underlay; and a certain edition of the libretto is the principal authority for the dialogue.  So we weren't concerned about the lyrics as such at the moment.  What would her question be?

Actually, I should have foreseen it.  This was the page of proofs that prompted it, although it appears here as I think it should in print--with the offensive n-word redacted:

SOURCE:  cropped scan of proof of p. 197 of new critical edition of Princess Ida (forthcoming), no. 12, b. 109–112; I have redacted the text.

Of course she asked Why is this word there?  At the very least, why is it not relegated to the footnote, with the substitute text in the score proper?  As this edition seeks to establish the text as it was settled in the first run, the line quoted in the footnote is extraneous, and certainly doesn’t belong in the main text of the score.  But I feel strongly that we can't print what Gilbert wrote.  All the same, we can’t hide what Gilbert wrote—we need to leave the ugliness on display, or else we let Gilbert off the hook.  Princess Ida is a troubling piece in many ways, particularly as the focus of Act II is lampooning women's education generally.  (The joke, as it happens, is on Gilbert—or at least on his chauvinist characters.  They rattle off a list of impossible things that these “girl [sic] graduates” hope to accomplish; but several of the items on that list have actually come to pass since 1884.)  But ugly and troubling texts still need to be presented, and in ways that don't simply bypass the problems.  

Several years ago, at my previous institution, one of my responsibilities was directing the chamber orchestra.  I had great fun with it, particularly as the instrumentation changed substantially each year as students graduated and matriculated.  There were always new challenges and new opportunities.  One year I had such an idiosyncratic ensemble that I rashly decided to compose/compile/arrange a score to accompany a silent film.  If I had realized what I was getting into, I would never have done it—but it proved to be great fun despite the labor that it entailed.  I settled on a Buster Keaton film that I felt sure would appeal to my undergraduate audience:  College (1927). 

But there is a short scene right in the middle of the film where Keaton is in blackface.

SOURCE: cropped screenshot at 29:14 from the full film, available on youtube.

I considered skipping this scene in performance; I briefly considered not even scoring this film at all.  My solution, ultimately, was to show the film, but for the orchestra to remain tacet throughout the four or five minutes of the blackface scene.  We thus could present Keaton’s film intact, but—by remaining silent—pointedly not endorse it.  Or at least that was what I was hoping we could do.  We could remind the audience that in the midst of the brilliance and finesse, there is an ugly and indelible stain that is more than just an artifact of its time.

So too in this edition of Princess Ida, I want the ugly stain to be clear, even if I don’t feel we can actually print the n-word.  The opera dates from 1884, but the edition is a product of the early twenty-first century; our edition inevitably will reflect our historical moment, too.  At the moment, the black-box redaction (in the style of released government documents) seems the best way to do be faithful both to Gilbert’s text and our present interaction with it.  The page is visibly scarred, but the content of the text is still clear.  And anyone who wants to see what Gilbert wrote can easily consult a multitude of other sources.

To do otherwise in such a case—that is, to print the text as it stands, to remain silent as an editor—is simply not an option.  The editorial silence would be deafening.

46. Look ere ye leape

For some ridiculous reason, to which, however, I’ve no desire to be disloyal,
Some person in authority, I don't know who, very likely the Astronomer Royal,
Has decided that, although for such a beastly month as February, 
twenty-eight days as a rule are plenty,
One year in every four his days shall be reckoned as nine-and-twenty.

And here we are on that leap day.  Perhaps I ought to be celebrating Rossini’s birthday while I have the chance, but this is a post I’ve had in mind almost from the beginning of this blog:  What about scores that seem to have one bar too many (or too few)?

An example that many pianists know is the extra bar that shows up in some editions of BWV 846/i, the first prelude of Bach’s Well-Tempered Clavier (Book I). 

SOURCE:  cropped from G. Schirmer (c. 1893) reprint of Czerny edition, from IMSLP #01005

This bar was introduced by Christian Friedrich Gottlieb Schwencke (1767–1822), I suppose as a remedy two faults he perceived in Bach’s text.  He seems to have wanted to make the prolonged Dominant pedal begin on a “strong” bar (the first of a group of 4 bars)—thus he needed that to fall on b. 25 instead of b. 24, and so introduced a new b. “23.”  He also took pains to eliminate the two false relations (here shown in color) in the voice-exchange.  The bracketed solid note-heads represent Schwencke’s interpolated bar.

(Incidentally, this doubly-chromatic voice-leading troubled analyst Heinrich Schencker too.  He made a big deal about the fact that in an autograph manuscript, Bach wrote stems for the bass F-sharp turned upward.  To Schencker this was conclusive proof that Bach thought of that note as nothing more than a foreground harmonization of the soprano E-flat.  I’m not convinced that the stemming was anything more than fortuitous.  Whatever.)  

The retention of Schwencke’s extra bar was codified by Czerny’s edition (reprinted and reissued by a number of publishers, and probably in print continuously to this day.)  Gounod was likely working from Czerny’s edition when he created his superimposed melody—initially as an instrumental Méditation, but subsequently texted (and forever after known as) Ave Maria.  Gounod has thus transformed this “Schwenckenische Takt” into a load-bearing bar:  it is impossible to correct it, as the climax of Gounod’s melody depends on it.  I am reluctant to claim that it does much damage to the Bach original.  It matters if you know to listen for it; otherwise it passes unnoticed.  And, as Malcolm Boyd has observed,

“Schwencke wrote numerous compositions—oratorios, cantatas, concertos, sonatas, and songs—but his most frequently performed piece of work is without doubt bar 23 of the first prelude in Book 1 of Bach’s The Well-tempered Clavier....” [p. 444]

As it happens, Schwencke is a link to another work for which editions generally seem to have one bar more than the composer intended—although in this case the variant stems from the composer's hand.  It is Mozart’s celebrated thirteen–instrument serenade, K. 361, a work with a long history of textual problems, and to which I will return in future posts.  (The Schwencke connection:  he devised a charming version for piano quartet plus one woodwind.) The superfluous(?) bar is in the fifth movement, the Romance.  Here is the relevant page of the autograph manuscript:

SOURCE:  Mozart, K. 361, v (Romance) bb. 22-30; p. 54 of Mozart’s autograph; a downloaded digital scan on the Library of Congress website; a scan of the whole manuscript is available.

This movement is in a large ABA structure, but the A section is itself a binary form (aabb).  The page above shows the last three bars of the b and the first six bars of the B.  The return to A is indicated by the instruction da capo senza repliche a few pages later.  So the moment in question here is the third bar on the scan above:  it is to be played as b. 24 twice (as it is repeated); but is it to be played again as b. 111 on the third time through—the da capo without repeats?  

Mozart’s curved bracket above and below this bar was his usual indication of a first ending, but that wouldn't work in this case, as the transition from b. 23 to b. 25 is nonsensical.  Rather these seem to be an indication to skip b. “111” and go straight to the coda.  But—crucially—these curved brackets were both smudged while the ink was still wet.  Was Mozart changing his mind?  Or was the smudge accidental?  After all, if he made these markings after composing the B section, then all the rest of the ink on this page would have already dried.

Actually, I think this is exactly what happened.  Mozart was presumably impatient to start to work on the coda:  the previous page (folio 27v, numbered 53) of the manuscript shows a tell-tale mark where the still-wet slur near the top of this page (28r, p. 54) would have set-off when the page was put down too soon on top of the other folio.  I have marked the off-set smudge on p. 53 in red, as well as a space at the bottom of the page where we might expect to see a similar offset from the slur below the contrabass line:

So, is it a problem that the lower mark isn’t there?  Maybe.  But maybe not.  I speculate that the wet ink of the lower bracket of p. 54 could well have been smudged by the bottom edge of page 53, without leaving much on the page itself.  Here is my effort at representing the pages as they would have lain together to create the offset.  For this image you must imagine you are seeing through p. 54 (and so here its image has been reversed and made partially transparent).  The top brackets coincide when placed at such an angle—possible, as the pages were then unbound nested bi-folios:

The smudged top bracket and the mark on the previous page are uncannily similar.  The most suggestive detail to me is the “1” which, I suggest, explains the blob under the set-off bracket on p. 53.  Here’s a detail—p. 53 on the top, p. 54 (reversed, to align the offset) below, with the “1” and the set-off blob circled:

As I say, maybe.  I think editors are perfectly justified in omitting this bar on philological evidence (and speculation, it must be said) like that presented above.  One of the editors of the NMA volume including K. 361, Daniel N. Leeson, has written at length about this bar, voicing his regret that he did not fight more with the general editors in order to omit it from the NMA text.  (See, for example, his 2009 summary of his decades of research into this piece.  He seems not to have noticed the off-set on p. 53, however.)  Leeson, with his co-editor Neal Zaslaw, did at least manage to get a footnote in the NMA score to the effect that perhaps Mozart did not want this bar played, and directing the user to the critical report:

SOURCE:  detail of scan of NMA VII/17/2 (1979, ed. Leeson & Zaslaw), p. 191.

In fact, the critical report wasn’t issued until 2002, and was the work of a yet another hand—Dietrich Berke.  (See his comment here.)  When the NMA score was issued as a separate Bärenreiter offprint, the Leeson/Zaslaw footnote was modified:

SOURCE:  detail of scan of Bärenreiter TP 312 (otherwise an offprint of the above; this is from the 6th printing, 2006), p. 51.

The Henle edition (2005, ed. Henrik Wiese) at least puts the bar in brackets, with an explanatory footnote:

SOURCE: detail of scan of Henle 9809 (2005, ed. Henrik Wiese), p. 45.  The relevant comment cited here describes the notation and the smudging, remarking “It is impossible to determine with absolute certainty whether this ‘volta’ applies or not, and what it refers to.  Presumably it relates to the transition from the recapitulation to the coda in mm. 111–112, so that the chords from M 24 (= M 111) give way to the entrance of the coda” [p. 77].

According to Leeson, the only edition yet to completely omit bar “111” is that edited by Roger Hellyer.  After explaining the situation in his Preface, Hellyer comments:  “If performers cannot accept my decision that I am here following Mozart's ill-expressed intentions, they are of course free to reinstate what has been played here at least since 1803, as in bar 24.”  Exactly so.

Unsurprisingly, performers have been more willing than editors to take a chance on omitting this bar.  Here, for example, is this moment in Christopher Hogwood’s recording with the Amadeus Winds.  The missing bar comes—or, rather, doesn’t come—at ten seconds into this clip, at the start of the coda:

I find this reading musically compelling, and certainly plausible as Mozart’s intention, with the suddenly reduced forces on the beginning of the coda (and the surprise dissonant harmony when we expect the full cadence).  Moreover, I think the textual evidence is suggestive enough to back it up, even if it is not conclusive.

Of course we may be deleting a bar Mozart intended, merely to satisfy our taste.  That seems to be what has sometimes happened near the end of the first movement of Beethoven’s fourth symphony.  To some ears this ending seems to have one too many bar.  Jonathan Del Mar reports that Schumann (1840) and Czerny (1853) were early advocates of deleting it, and in one early set of manuscript parts the bar has been deleted—but it is impossible to say when this alteration was made, and no other source close to Beethoven supports it.  Other critical editions have brought up this question, but the only one I have seen to delete a bar for the sake of metrical regularity is Peter Hauschild’s 1996 edition for Breitkopf [below on the right].  Hauschild’s astoundingly naive justification for relying so heavily on this single source as transmitting Beethoven’s supposed alterations:  “da es wohl ausgeschlossen ist, daß andere an Beethovens Symphonie herumkorrigiert haben”! [p. 84; “because it is surely out of the question that others would have corrected Beethoven’s symphony.”]  The irony is delicious.

SOURCE:  marked-up page scans of the last page of the first movement of Beethoven’s Symphony no. 4, op. 60:  (l.) Bäenreiter (1999, ed. Jonathan Del Mar—here from 2001 off-print); (r.) Breitkopf & Hartel (1996, ed. Peter Hauschild).

If you want to compare these in performance, compare John Eliot Gardiner (with the text on the left) and Daniel Barenboim omitting the bar, as on the right.  I suppose Barenboim and anyone else may do with the text as they see fit.  The composers themselves sometimes take such liberties.  Here is an extract from Saint-Saëns’s symphonic poem Danse macabre (1875) in the composer’s own transcription for violin and piano.  He added the bar marked in red when he produced this version; it does not correspond to anything in the orchestral version.

SOURCE:  cropped screen shot of 1877 Durand edition of violin/piano version, p. 11 (from IMSLP #33277); the extract begins at b. 340.

Liszt’s Mephisto Waltz no. 1 is a similar example, if even more complicated in Liszt’s piano version both adds and delete bars compared to the orchestral original—so that the two versions do not correspond.  Already in the first 150 bars each version contains a bar that the other lacks, and it is clear from the composer’s sketches for the piano version that he had second thoughts.

SOURCE:  marked up scan of first edition (Leipzig, c. 1862), bb. 1–32; b. 25 is new to the piano version.  Scan from IMSLP #13711.

SOURCE:  top, as above, bb. 120–136; the orchestral version has an extra bar after b. 134; below, detail of manuscript sketch of this passage, scan from the Morgan Library.

For an example where I believe a new scholarly edition is led by the early sources into an error that an older edition had set right, look at the last aria of BWV 52, “Falsche Welt, dir trau ich nicht.”  As often elsewhere, Bach did not write out the final ritornello, but indicated it merely with a da Capo instruction:

SOURCE: detail of scan of the autograph (D-B Mus.Ms. Bach P 85, f. 8v) available on Bach Digital.

SOURCE:  the same, f. 7r.

Because the final cadence is (or at least I would argue is) elided with the return of the ritornello, Bach has notated the first bar of the ritornello again before the instruction “DC.”  Consequently, he surely meant not really a return to the beginning, but rather to the second bar.  And, indeed, at the second bar we find the segno marking we would expect to see [at right].

The BG edition interprets it thus, assuming that Bach’s “DC” really meant “DS.”  The NBA, on the other hand, takes the DC literally—correctly pointing out that the earliest performing parts (which are all the work of copyists) have da Capo, following the autograph faithfully.  In fact, one of these early parts—Oboe III—has a segno at b. 2, which indicates that someone recognized the problem early on.  (The lack of a correction in the other parts does not mean that it wasn't corrected:  the mistake seems so obvious that the musicians could recognize and remember the error.)  Incredibly, there is no comment in the NBA critical report about any of this—nor about the different editorial decision that has been taken.  As it is the policy of the NBA to print in full such passages that Bach has abbreviated, a redundant bar is introduced into the text:

SOURCE:  marked-up composite page scan with detail from pp. 162 and 163 of NBA I/26 (1994, ed. Andreas Glöckner), here scanned from Bärenreiter offprint TP1290 (2007).

In my opinion, this is just wrong—and the conclusive proof for it is an overlooked detail of the autograph score.  Where the other parts are given the da capo instruction, the singer—who will have nothing further to sing—is given exactly fifteen bars of rest (after the bar in which the cadence occurs):

SOURCE detail of scan of the autograph f. 8v again, just further enlarged.

 ...yet the NBA text calls for sixteen bars of rest to reach the end of the aria (as enumerated above).  Significantly, I haven’t found a single recording that includes this extra bar.  If they are using the NBA, the musicians are deleting it.  Sometimes an extra bar is just too much of a good thing.