Part 8 (2/2)
Again, in a recent edition of the same air by the distinguished composer Vincent d'Indy (_Nouvelle edition Francaise de Musique Cla.s.sique_), occurs the following:
[Music: tu regnes dans mon coeur!]
The effect of the _F_ sharp in the last bar, if sung against the harmony given, in which the preceding chord is resolved, would be intolerable. Surely, the composer intended a p.r.o.nounced _rallentando_ on the latter half of the bar, and a carrying of the voice by a _portamento_ to the last note. Thus:
[Music: tu regnes dans mon coeur!]
In the edition of the immortal air in the opera of _Xerxes_, universally known as the ”Largo of Handel,” also revised and edited by d'Indy, may be noticed the following:
[Music: Non v'oltraggino mai la cara pace, ne giunga a profanarvi austro rapace!]
Of course, every operatic conductor knows that the chord in the orchestra must be played ”after the voice,” as the technical phrase has it. But not every pianist or organist is familiar with this usage, and the effect would be very disagreeable if given as written. It should be performed thus:
[Music: Non v'oltraggino mai la cara pace, ne giunga a profanarvi austro rapace!]
Besides, why claim that a certain edition is ”revised and edited,”
when all the care and musical knowledge seem to have been expended on the harmonies only? Surely, the voice-part in these cla.s.sics is not without its need of elucidation.
An edition of _The Messiah_, revised for performance, can scarcely be called accurate when such defects as the following occur:
”And [fermata symbol over ”they”] they ---- [breath symbol] were sore afraid.”
The following is the authentic mode of performing the phrase:
”And [fermata symbol over dash] ---- [breath symbol] [slur symbol and ”sombre” over the following words] they were sore afraid.”
In the same edition for the solo singers occurs: (”Behold and see”):
[Music: If there be any sorrow like un_to_ His sorrow.]
But by a slight syllabic rearrangement, the disagreeable accent on the last syllable of ”un-_to_” is avoided, and the accent placed on the word ”His,” to which it belongs, while the composer's music remains untouched.
[Music: like unto _His_ sorrow.]
Again, in the same air occurs:
[Music: (as printed)
like un_to_ His sorrow.
(should be sung)
like unto _His_ sorrow.]
While recognizing the benefits conferred by some of these specially prepared editions, there remains still more to be accomplished in this direction before the work is complete. A flood of light has been thrown on the dark and nebulous places of the instrumental cla.s.sics by various distinguished and highly competent musicians. It is sincerely to be hoped, in the interests of this branch of the aesthetics of vocal art, that those competent to speak with authority will do so, in order that in this direction also ”the crooked shall be made straight, and the rough places plain.”
I admit that this question of revising the composer's written text is an exceedingly delicate and difficult one. It should be attempted only by those possessed of the requisite authority, those who combine tact and taste with judgment and experience. To these qualities should be added a sincere and reverential desire to place in the highest relief the meaning of both poet and composer.
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