e-book Trios and Quartets for Double Basses, Volume IV

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A turning point in the history of this edition, for Einstein was able to expose and rectify innumerable traditional errors in this work, as well as also in the d-minor quartet, through meticulous comparison with the autograph. He takes the K.

At our spot, this edition reproduces the autograph reading, not that of the first-edition, thus not the lombardic rhythm, but:. There are no string quartets known to me that would not follow this text today. Yet which version is the correct one, that is, which did Mozart want? Both sources, autograph as well as first edition, rank as primary.

A virtually insoluble conflict. But just the same, Mozart also could still have corrected this little passage before publication. I am not certain what to edit in the main text. Personally, I like the autograph version better — and I could also give a musico-stylistic reason for that. But editing is indeed not a matter of taste.


But what do you think, string-quartet players and Mozart fans amongst our blog readers? What arguments can you contribute? I am keen to know and grateful for your interest! However it is labeled, this little variant rhythm does seem to serve a musical purpose. If the composer had deliberately decided to create a variation at this spot but with two 8th notes, rather than the dotted 8th, 16th.

Then, of course, the argument would easily be made that the 16th beam and the dot were left off unintentionally, and we might be having a different discussion. I believe that the autograph is correct for the following reason the reader will need to look at the entire phrase in the score to understand the reasoning :. The high F in violin 1 in m. The G in m. Since the B is actually the more important tone, it needs greater length than a mere sixteenth would have given it, and thus Mozart reversed the rhythm to make it a dotted eighth.

This change of rhythm then motivates a change of rhythm in the melody of to straight quarters.

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I suppose one could still hypothesize that Mozart had a slip of the mind, but it seems beyond question that at the moment of writing, he imagined the exceptional non-Lombard rhythm that he wrote. I also think the exception makes sense because it is a classic supertonic resolution at a point where M exits the Lombard pattern in any case for the A major arpeggio.

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At the corresponding cadence in D major, the Lombard pattern continues on the final tonic. By clicking "Post comment", you agree that your data will be stored by G. Henle Verlag e.

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    Discography - All Arditti

    Brice Pauset, harpsichord. Arditti Quartet Series on Montaigne. Recordings of Individual Works. Live Recordings on Documentation Discs. Vinyl Recordings.

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