Sunday, February 08, 2015

and another short note on musical stuff, a question that has emerged so, uh, is Boije 349 all we've got for an edition of Matiegka's Grand Sonata 1?

The analysis of Grand Sonata 1 that has supposed to taken shape has hit one of those roadblocks that a mere blogger didn't foresee but should have, one of those pesky things called questions about engraved editions and all that.  When you hear every commercially available recording sound an A natural where no A natural was mentioned in the score ...

sigh ... this is the kind of thing that classical guitarists get into long fights about and for the piece in question it's arguable that whether or not the note being A natural or A sharp even matters would seem moot.  But we'll get to what I mean in a week or so, time permitting.  There's never been any kind of modernized edition of Matiegka's Grand Sonata 1, has there?  It's a charming and intriguing work and along the way to discussing what goes on in the piece some questions came up about, oh, A naturals and A sharps in the modulating transition.  It also seems from the left hand instructions in measure 1 that the descending glissandi stuff would have to be taken on strings 2 and 3 rather than strings 1 and 2 (though the passage sounds fine if taken on strings 1 and 2 anyway). 

There are at least ... three commercially available recordings of this work and Wenatchee the Hatchet means to get around to discussing them (got them all) but it dawned on me this weekend that in all three cases an A natural is taken in that modulating transition where the score seems to call for an A sharp.  Because in all adjacent measures the introduction of A natural within the same measure had a courtesy natural it might be that what has been played as A natural could have or should have been a A sharp ... but it may be easier to show rather than tell and it sure seems like Wenzeslaus Matiegka's been dead long (1773 to 1830) enough the work has gone into the public domain.

As I get more immersed in Matiegka's work I'm inclined to agree with David Leisner that Matiegka's work is substantial, even when compared to the usual suspects of substantial early Romantic classical guitar literature by Sor or Giuliani.  I've blogged about sonata form in the work of Sor, Giuliani and Diabelli in the past and plan to return to that.  Matiegka has surpassed them in musical interest for me and Matiegka's work shows a clarity and command of large-scale form and some contrapuntal invention that seems well worth discussing further.

But ... there's also some questions coming up for me about editions and whether there are any ... any manuscripts that could be consulted to discern questions about sharps and naturals and stuff. 

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