http://
www.pianoworld.com/ubb/cgi-bin/ultimatebb.cgi?/topic/2/3872.html
Bach -- Neue Bach Ausgabe, Breitkopf und Hartel
Handel - Henle
Scarlatti, D. - Schirmer (Kirkpatrick)
Haydn - Vienna Urtext (Landon)
Clementi - Doesn’t matter
Czerny - Doesn’t matter
Mozart - Presser (Nathan Broder)
Beethoven - Henle
Schubert - Henle
Schumann - any
Chopin - Paderewski
Liszt - Editio Musica Budapest
Brahms - any
Bartok - Boosey & Hawkes
Prokofiev - doesn’t matter
Rachmaninov - Boosey & Hawkes
Debussy - doesn’t really matter, although some newer editions by Alfred and Peters are good
Ravel - Alfred (Bricard)
Choices...
I am in total agreement with you pretty much everything, except for Mozart and Schubert, Vienna Urtext would be a first choice for me; so much detailed commentaries which I feel lack in Henle. For Schumann and Brahms I’d choose Henle, Boosey&Hawkes for Russian and Durand for any French composers but it’s only my prejudice. Outside the musical content in it, Henle cannot be chellenged in terms of durability .
Apparantly the new edition published by Polish Chopin Institute is very good but I couldn’t afford second urtext copy. Any comments would be appreciated
For Beethoven I prefer the Schenker edition, which is not only reliable textually, but recreated the visual layout as Beethoven wrote it (but a lot neater!). One edition I would avoid is the Schnabel edition, which alters Beethovens phrase marks and generally imposes the pianists ideas on the performer (ironically, Schnabels own recordings are often poles apart from his own editions!).
For Chopin, I use the Paderewski or the Mikuli. There is a misconception that since his name is on the edition, Paderewskis mannerisms are somehow also present. In fact, Paderewski was only one of several members of a committee which laboriously edited Chopins works, and the notes on the performance of his music are pretty much confined to the proper placement of ornaments, grace notes, etc. Its still a valuable edition.
Debussy: Durand
Brahms: International Music Company
Durand, although the original French publisher of Debussy and Ravel, is known to have many errors. (Nancy Bricard has corrected most of these in the editions she prepared for Alfred. The footnotes in her Ravel editions alone are worth the money.)
Vienna Urtext Chopin isn’t all Badura-Skoda. Ekier did the Ballades, for example. (And Ekier’s Ballades are wonderfully edited.)
A word about heavily edited editions (like Schnabel or Von Bulow Beethoven...)
The concept of what an edition should be is very different nowadays than what it used to be. In the past, editions served the same purpose as recordings do today. That is, they are a record of one possible interpretation.
Paderewski Chopin is similar. It’s not really "urtext," it’s a record of the manner in which the leading Chopin interpreter of the day played his works.
So, it’s not so much that Schenker Beethoven or Vienna Urtext Chopin is "better" than Von Bulow Beethoven or Paderewski Chopin, it’s just that the philosophy behind the editions is very different. The former seeks to clarify the composer’s original intentions, and the latter presents an interpretation.
Also, it should be noted that in the case of Chopin, there were a couple of different "first" editions. (I’m typing from memory so I’m not 100ure of the facts, but the idea is solid.) There was a French first edition, an English first edition, and a German first edition. The three versions do not agree. (This is why you’ll often find different versions of the b minor waltz, for example.) Which version is better? It’s hard to say - Chopin authorized all of them, and all of them are considered "first" editions.
Oh, and keep in mind there’s an old Paderewski and a new Paderewski edition of Chopin. The old one is actually fine and is mostly what Dover reprinted. The new one is even better
Also, I just say Schumann and Brahms don’t matter because several are good. Henle, VU, even Dover. I’ve never seen much difference between them. (Although thanks for the heads up on Peters’ Schumann, I’ll be sure to watch out for them!)
Although not "definitive," the Cortot edition of the Chopin etudes is worth mentioning because of the exercises, and commentary.
Hank, you’re right about the Schnabel not being authoratative. I like to refer to the fingerings, though.
Gyorgy Balla/Editio Musica Budapest: 200 Sonatas in 4 volumes
Emilia Fadini/New Ricordi: 333 Sonatas in 6 volumes (in process)
Kenneth Gilbert/Heugel: complete urtext
Ralph Kirkpatrick/Princeton: complete autograph reproduction
Alcssandro Longo/Old Ricordi: first complete edition
I have the Balla, Longo/Old Ricordi and Gilbert/Heugel. Probably because my teacher liked the Longo, I’ve used that the most. I usually find myself comparing editions -- and sometimes recordings to figure out what I’m supposed to do. One will never be completely sure...
The Longo edition is annoyingly edited. Fadini, in progress, consists of 8 volumes out of a projected 10, with 457 sonatas in those first 8 volumes. Since the project has been in progress for 24 years, and since the volumes have been issued at wider and wider intervals, I have some concern that this might never be finished. E-mail to Ricordi asking about completion plans has not produced any reply. The text is quite legible and prepared with obvious care, however.
The Kirkpatrick/Princeton is not an autograph, but rather a copyist’s fair copy, bound, possibly prepared for the use of Maria Barbara (Scarlatti’s patroness). It’s a bit more complete than the currently available set from Ricordi. It’s quite legible, but not quite at the level I feel comfortable reading from at sight.
Kirkp/Longo convertor:
http://www.ne.jp/asahi/music/marinkyo/scarlatti/referenco.html.en.8859-1
http://www.ne.jp/asahi/music/marinkyo/scarlatti/
I haven’t seen the Gilbert; perhaps Kluurs can comment on its quality.
For complete sets of Scarlatti, in clean editions:
Complete Keyboard works (Kenneth Gilbert - Heugel), 11 vols
Complete Keyboard works (Kirkpatrick - Johnson Reprint Corporation), 18 vols (facsimile edition)
Complete Edition of the Sonatas (Fadini - Ricordi), 5 vols.
Hinson (Guide to the Pianist’s Repertoire) speaks highly of Fadini, which I have not seen. I have seen the Kirkpatrick/Johnson reprint, and like it very much. Being a facsimile, it is a bit low in contrast for sight-reading, but that may just be the fault of my ancient eyes.
The Longo on CD ROM is certainly cheap, but there’s an occasional page missing, and MUCH interference from Longo’s hand.
Hope that helps.
Expressive Etudes:
http://www.fjhmusic.com/piano/expressive.htm
I just bought a copy of the Ricordi (Fadini) edition (at least, the first five volumes, which was all Hutchins & Rea had in stock; R. Vaga at
www.sheetmusic1.com is having Hal Leonard ship me the others). The text is clear, and the citation of variations found in different manuscript sources (ten!) appears exhaustive. I have not yet found an index that allows the user to find easily a sonata in this compilation from the Kirkpatrick or Longo number; still all sontatas are identified by both numbers. The index may be in volume 8, which I don’t yet have. Also, at $60 per volume, this set is not exactly inexpensive. Still, it’s clearly devoted to providing a most complete view of Scarlatti’s intentions, and will, I think, serve a performer quite well.
There’s a new thematic index available, here’s the blurb:
for SCARLATTI aficionados: Domenico Scarlatti Thematic Index according to Ralph Kirkpatrick and Emilia Fadini by Laurette Goldberg and Patrice Mathews with William Glennon. First time available! The most up-to-date Scarlatti index, based on recent scholarship; with concordances to Longo plus arrangements by keys. MusicSources 1999. $15 plus $3 postage and handling.
http://www.sfems.org/musicsources/msbooks1.htm
This publication was highly recommended by CLAVIER magazine recently
Pogorelich’s scarlatii.
IVO POGORELICH - RECITAL
Johann Sebastian Bach (1685-1750)
English Suite No.2 in A minor, BWV807
English Suite No.3 in G minor, BWV808 [mm’ss]
Domenico Scarlatti (1685-1757)
6 Sonatas
Sonata in C major, K. 487 Sonata in E major, K. 20
Sonata in E minor, K. 98 Sonata in G minor, K. 450
Sonata in D minor, K. 1 Sonata in C major, K. 159
Ludwig Van Beethoven (1770-1827)
Sonata No.11 in B flat major, Op.22
Bagatelle in A minor, WoO59 Fr Elise
Ivo Pogorelich, Piano
Ivo Pogorelich is certainly one of the worlds most exciting pianists and has been an exclusive Deutsche Grammophon artist since 1981. He was thrust into the limelight when Martha Argerich resigned from the jury of the 1980 Warsaw International Chopin Competition in protest at his elimination and proclaimed: This man is a genius.
Pogorelich has made triumphant appearances in all of the worlds major concert halls and has repeatedly been compared by critics to Horowitz, Paderewski and Rachmaninov. This production by Humphrey Burton features Pogorelich playing music by some composers with whom he is intimately associated: Bach, Scarlatti and Beethoven.
At the preparatory school where I worked, one of the students there won second place at nationals (high school senior division I think.) His program was something like:
Chopin - 2nd Sonata (1st mvt.)
Prokofiev - 3rd Sonata
Liszt - Un Sospiro
Scarlatti - a sonata
Chopin - f minor concerto
The first place winner played Appassionata, one of the Chopin Scherzi (3rd or 4th I think), something else I can’t remember, and I think her concerto was Rachmaninoff Rhapsody.
So basically...it’s all standard competition stuff. For concerti, I’ve heard Prokofiev 3, Mendelssohn 1, Schumann, Tchaikowsky 1, etc...
The format:
MTNA-Yamaha Senior Piano
State Competition:
maximum performance time: twenty-five (25) minutes
selected solo (no concerto) program must contain:
..n=5174
Sight Reading
http://www.amazon.com/gp/product/0793525748/qid=1137101622/sr=1-3/ref=sr_1_3/002-4873161-6139233?s=books&v=glance&n=283155
