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Complete Piano Music Vol.4 (Preview)

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Music by Douglas Lilburn | Piano

Editorial notes Sonatina

Editorial notes Sonatina No.1 (1946) The copy-text for this edition is the first edition published by Price Milburn in 1973, which Lilburn proofed, with reference to the holograph in the Alexander Turnbull Library on which the first edition was based (fMS-Papers-2483-089) and an earlier holograph (which includes the alternative movement) presented to Owen Jensen (fMS-Papers-7362-2). Where we have found inconsistencies between our primary source (the Price Milburn edition) and the two holograph scores, we have given details of our decisions, which have been made with our knowledge of Lilburn’s style and compositional methods. In the following notes these sources are referred to as PMM, ATL and Jensen. The copy editor of this present edition (Rod Biss) also saw the PMM edition through the press in close consultation with the composer. It is significant to know that at no stage did Lilburn ever mention to Biss that he had discarded an earlier slow movement, however, as he carefully kept the alternative movement in his papers and did not strike it through in pencil (as he did with other reject scores), he seems to have had a personal affection for it. It does, in fact, reveal an extrovert and experimental side of the composer that is less often seen. Nonetheless we do agree with his decision to write a different slow movement, which we feel is more in keeping with the overall flint-like clarity of the Sonatina. Accidentals apply at specific pitch for that bar only. However, Lilburn does add some cautionary accidentals, which we have kept and also added some others where it might aid sight-reading. 1st movement PMM is marked ‘Vivace: Ó˘ = c.76’, Jensen is marked ‘Allegro vivace: Ó˘ = c.66’, ATL is marked ‘Allegro poco vivace: Ó˘ = c.66’. 23 ππ is missing in PMM but present in Jensen and ATL. We have added it. 31 PMM has a ° indication here, which we have deleted as being the only ° mark in the entire work (with the exception of bar 241 in the third movement); it seems unlikely that it was added by the composer. 32 Lilburn’s ‘brilliante’ has been corrected to ‘brillante’. 47–52 The beams grouping quavers in these bars (also 148–153) is in Jensen and ATL and implies a subtle rhythmic grouping that should be felt in performance. PMM has phrasing over the quavers, presumably added at proof stage, that we have discarded in preference to ATL and Jensen. 79 π in PMM is not in either ATL or Jensen, presumably added at proof stage. 119, 121; The crescendo hairpin is in PMM and ATL but missing in Jensen. 124 PMM has π as in ATL but Jensen has ππ (by analogy to bar 8). 133 ‘brillante’ is not in ATL or Jensen but was presumably added by composer to PMM. 174 π is missing from Jensen. 215, 217; PMM has dots and slurs over the octave FÍ s that we have discarded in preference to ATL and Jensen. 2nd movement The original slow movement which is included with the Jensen holograph (fMS-Papers-7362-2) carries the seeds of several ideas which the composer used in his revised movement. This discarded movement is included as an appendix to this volume. In the editorial notes that follow we have referred to the original movement where appropriate as ‘Orig’. The metronome mark, Œ = c.60 is missing from Jensen but present in ATL. Orig is marked ‘Poco Adagio’ and has no metronome mark. 1 In PMM Lilburn has added a downward crotchet stem to the first R.H. chord indicating the importance of the middle part. The EÍ on the second PEL04 – viii

eat is a minim in both Jensen and ATL, but in PMM becomes a dotted crotchet moving down to a quaver D. The upper part is simplified in PMM becoming just a minim chord on the second beat which is as Lilburn had originally conceived it, see Orig. Faint pencil marks on ATL indicate that Lilburn decided to modify these opening five bars, in effect returning to his original layout of the bars in question. 11 Lilburn writes beats 2/3 with treble dotted crotchet followed by a demi-semi-quaver. In this edition we have preferred a crotchet tied to a double dotted quaver. 34 Both hands. In PMM Lilburn has added tenuto marks to the first three chords of the bar. 37 Both Jensen and ATL have ‘rit.’ over the last three quaver chords of the bar with ‘a tempo’ at the start of the next bar. Although it is omitted in PMM we have reinstated it in this edition. 40, 41 R.H. The phrase marks over these bars are missing from both Jensen and ATL. 43, 44 PMM has shorter hairpin leading to ∆ at beginning of bar 44 followed by π on the last quaver beat. 44 Both hands; the phrase over the first three notes is missing from both Jensen and ATL. 46 The slurs and tenuto marks in both hands do not appear in either Jensen or ATL. 49 R.H. In PMM Lilburn has added a slur with tenuto lines to the chords. 56, 57 R.H. In PMM Lilburn has added a slur across the bar line with tenuto lines to the chords. 58, 59, 60; R.H. In PMM Lilburn has added phrase marks with tenuto lines to the repeated chords. 58 Both Jensen and ATL are marked ππ, in PMM this is π but it seems probable to the editors that ππ is the composer’s intention and we have reinstated it. 59–60 The crescendo, diminuendo hairpins are carefully placed by Lilburn below the L.H. clef in both Jensen and ATL, in PMM the hairpins are between the stave, but we have restored them to below the L.H. stave to make it clear that they apply to the consecutive thirds that the L.H. is playing. 3rd movement PMM is marked ‘Allegro: Ó = c.112–116’ with the instruction inquieto (meaning restless) between the staves. Jensen is marked ‘Allegro: Ó = c.104’ with inquieto between the staves, ATL is marked ‘Allegro inquieto: Ó = c.104.’ 21–26 R.H. rewritten in both ATL and PMM as sharps rather than the flats of Jensen. From 39 on Lilburn has rewritten this repeated figure for PMM; the upper third becomes a minim with stems up while the lower part—two quavers followed by a crotchet—has stems down. In Jensen and ATL the third is written as part of the first quaver in each bar. 51 The πππ marking is missing in PMM however it is present in Jensen and in ATL Lilburn has marked this bar as ‘più π’. We have preferred to add πππ to this edition. 57 Jensen is marked ‘poco tranquillo e cantabile’, whereas ATL has only ‘cantabile’ at bar 59. We have adopted the ATL placing of ‘cantabile’. 97–99 The crescendo and diminuendo hairpins are not present in Jensen or ATL and are likely to have been added by Lilburn on the proofs, however ATL has a ππ marking at bar 97 whereas in Jensen this ππ marking is at bar 104. 113, 114, 116, 117, 119, 120; The staccato dots on the second beat quaver chord are not present in Jensen. 114 Both Jensen and ATL have a diminuendo hairpin missing. 117, 120; Both Jensen and ATL have a diminuendo hairpin missing in PMM, which we have added to this edition. 121 π not present in Jensen but is present in ATL. 121–123; L.H. slur missing from Jensen, and may be a faint pencil addition to ATL. PEL04 – ix

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