lro,*,on Clarinet Library .

l(arinetten-Bíbliothek
schott

CarlMaria von Weber

1786 - 1826

GrandDuo concertant
f o r C l a r i n e(t i n B o a ) nd Piano
f ú r l ( l a r i n e t t e( i n B ) u n d K l a v i e r

opus48 (JV2O4,WeV P.12)

Nachdem Textder Carl-Maria-von Weber-Cesamtausgabe von

herausgegeben
Editedfrom CarlMaria von Weber,CompleteWorks by
Knut Holtstràter

t(LB 58
tsMN M-001-14095-9

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M a i n z . L o n d o n . M a d r i d . N e w Y o r k - P a r i s. P r a g ' T o k y o . T o r o n t o
e 2 0 0 5 S C H O T T/ " 1 U S l KI N T E R N A T I O N A L C r n r b H& C o . K C . M a i n z Pr;nted !n 6e'many
w à h r e n di n d e n b e i d e nl e t z t e nF à l l e nd i e a k k o r d i s c h e Die NotationalternativerTónefÚr die ersteTakthàlfte
Ausfúllung e i n e sc - D u r - K l a n g bs z w . d i e R e p e t i t i o n e n von T. 196 der l(larinettein Satz I hàngt mòglicher-
eines B-Dur-Septakkords als l(langflàchedurch die w e i s e m i t i n s t r u m e n t e n t e c h n i s c hG e ne g e b e n h e i t e n
zusammen, w o b e i o f f e n s i c h t l i cnhi c h t d ie Einzeltóne,
Aufhebungder DàmpfunggestÚtztwird, sollim ersten jder
sonderndie Folg{ drei ersten Tóne als Pro$lem
B e i s p i e lo f f e n s i c h t l i c hd i e h o h e L a g e d e r r H i n
werden. gelten muss. Die /i\otationsweise der l(larinette im
à h n l i c h e rw e i s e k l a n g l i c hh e r v o r g e h o b e n (T.
Ànfangsteilder Durchfúhrungdes l. satzes 130bff.)
(WebersBrodmann-FlÚgel hatte au[ler dem Dàmp-
fungspedalnoch einuna-corda-Pedal, einenFagottzug w u r d e t r o t z d e r e i g e n t l i c hi n k o r r e k t e nB e z e i c h n u n g s -
hier dúrfte aber nur die Auf- w e i s eu m d e r b e s s e r e L n e s b a r k ew i t i l l e nb e i b e h a l t e n .
sowie ein piano-Pedal,
h e b u n gd e r D à m p f u n gb e z e i c h n e t s e i n . )D e r P e d a l -
A l l e n ,d i e z u r E n t s t e h u n gd i e s e rE d i t i o nb e i g e t r a g e n
w e c h s e l i s t h i e r v e r m u t l i c hd u r c h d i e B ó g e n m i t
bezeichnet. h a b e n ,s e ia n d i e s e rs t e l l ee i n h e r z l i c h eDr a n kg e s a g t .
D i e A u f l ó s u n gd e r K ù r z e zl u r B e z e i c h n u ndge r 3 2 t e l -
Knut Holtstràter
T r e m o l ii m F i n a l s a t z T1. 2 5 f f .i s t i n u n t e r s c h i e d l i c h e r
w e i s e m ó g l i c hw, i e d i e sa u c hd i e v e r s c h i e d e n eEnd i -
t i o n e nd e sW e r k e sb e l e g e n '

Preface

Practicaleditionsthat are basedon criticaleditions weber wrote in his diary:"worked. Notatedfirst part
a l w a y sb u r d e nt h e e d i t o rw i t h p a n g so f c o n s c i e n c e o :n of Duo in E ftat." and by the 8 Novemberthe diary
the one hand, the score in front of us suggests a preci- entrystatesthat he had already"finishedAllo. in Eflat
sion which is often not provided by the various for Clar. Pf Dua". The work was published by
'purified' Schlesingerabout six monthslater.
s o u r c e so. n t h e o t h e r h a n d , t h i s o f f e r sa
versionfree of the ballastof references usedto justify
o r e x p l a i nt h e e d i t o r ' sd e c i s i o n sF. o r c l o s e re x a m i n a - The sourcesfor the work
tion of the detailsinvolved,it is urgedthat reference
b e m a d et o t h e c o r r e s p o n d i ncgh a p t e irn s e r i e sV l , v o l . An autograph fragment of bars 59-129 of the first
3 of the weber cesamtausgabe, the completeedition movement,probablywritten in Berlinat the beginning
of November1816, is l<eptin the staatsbibliothek zu
o f h i sw o r k s .
-
Berlin PreuJ3ischer Kulturbesitz (shelf mark: Mus. ms.
autogr.c. M. v. weber 4); this needsto be evaluated
sf the work
C e n e s io as part of what was presumablya completedraft ver-
weber composedthe GrandDuo in closecollaboration s i o n o f t h i s m o v e m e n tc o m p o s e di n B e r l i n i n t h e
w i t h h i s f r i e n dt h e c l a r i n e t t i sHt e i n r i c hJ o s e p hB a e r - a u t u m no f 1 8 16 . t n t h i s d r a f t v e r s i o nw e b e r i n c l u d e s
numerousindications regarding dynamics,articulation,
m a n n . A s w i t h m a n y o f W e b e r ' so t h e r w o r k s ' t h e
phrasing and performance, though someof thesewere
movementswere written in reverseorder,i'e' begin-
with Baer- not carriedover into his own autograph fair copy.This
ning with the Rondo,which he rehearsed
fragmentwas not used a basisfor the present score,
runn on 8 luly 1B15,accordingto his diary'On the
e v e n i n go f 1 1 J u l yt h e s e c o n dm o v e m e nw t a ss k e t c h e d t h o u g h a s a p r e l i m i n a r yt o t h e f a i r c o p y t h i s s o u r c e
out. The first documented performance of the Rondo contains some interestingvariants which give an
m o v e m e n tb y W e b e r a n d B a e r m a n nw a s g ivenin a i n s i g h t i n t o W e b e r ' sw o r k i n g m e t h o d s ( s e e W e C A
privatehouseon 1B July 1815 and the first perfor- Vl/3, pp. 179-181).
manceof both movementstogether followed on 2
Augustin the Munich Hoftheater.The sl<etching out
a n d c o m p l e t i o no f t h e f i r s t m o v e m e n w
t a s n o t d o ne
u n t i l l a t ei n t h e f o l l o w i n gy e a r o.n 5 N o v e m b e 1
r 8 16
The following source documentswere used as the
basisfor this score:
1. The autographfair copy
shelfmark:
Washington,Libraryof Congress,
M 1 3 0 . 8 b . W 4O p . 4 8
Thisautographscorewas written out for Weber'sown
referencearchiveand is dated at the end of the Rondo
"Munich 6 July 1815", but at the earliestit cannot
have been completed until November 1816 in
Berlin(?).
The few correctionsthat appearin the very densely
written autographscore were probably made in the
processof writing the score,as very little spaceis left.
As in the other scoresthat Weber wrote out for his
archive,thereareveryfew indicationsof dynamicsand
articulation. Strangelyenough,in movementsll and lll
a "Cembalo"[harpsichord]is specified,while in move-
ment I a differentspecificationof "Pianoforte"appears.
In view of its archivalcharacter,the manuscriptcan
serveonly asa comparativesourcefor the presentedi-
tion; it also providesvariantmarkingsin a numberof
places.
2. The engraver's proof
V i e n n aS , t a d t -u n d L a n d e s b i b l i o t h em
k ,u s i c
c o l l e c t i o ns, h e l fm a r k :M H 1 4 4 2 3 / c .
T h i si sa c o p y i s t ' cs o p yw i t h n u m e r o u sa d d i t i o n sb y t h e
composer,probably preparedfor Schlesinger as an
engraver's copy-textin Berlinat the end of 1816. lt is
very clearand the pagesand bars are evenlyspaced.'
Weber'sautographfair copy was clearlyused as the
main source,for the copyistnot only retained,word
of
for word, the movements'various specifications
i n s t r u m e n t a t i o nt ,h e m o v e m e n t t i t l e s a n d t e m p o
markings,but also kept with graphicprecisionto the
layout of the source-text.Weber checkedthis copy
v é r y t h o r o u g h l ya n d a d d e d i n n u m e r a b l ed e t a i l so f
dynamics,tempo, articulationand phrasing,while
evidently- as indeedwith other works- payinglittle
attentionto the correctness of the notes.Comparison
of the two sources also shows that Weberapparently
markedthe copy without reference to his autograph,
sincedifferentstylesof markingcan be found in cer-
tain places.As the copy-textdirectlyintendedfor use
in the preparationof the printed edition,this manu-
scriptcontainsthe work in its definitiveform. Sinceit
is doubtful whether Weber correctedthe printer's
proofs, and since the engraver reproducedsome
d e t a i l so f t h e m a n u s c r i pitm p r e c i s e l aynd misunder-
stoodothers,it is the engraver'scopy-text,not the first
edition,that constitutesthe principalsourcefor the
p r e s e net d i t i o no f t h e w o r k .
3 . S c h l e s i n g e rf i' rss te d í t i o n
B e r l i nA: d o l p hM a r t i n S c h l e s i n g eprl,a t en u m b e r
"253" (1817); no opus numberon the title-page
In comparisonwith the engraver'copy,the first printed
edition contains relativelyÍ.* transmissionerrors,
althoughsomemarkingsrelatingto dynamicsand arti-
culationhavenot beencarriedover.As in most of the
S c h l e s i n g eerd i t i o n so f t h i s p e r i o d ,W e b e r ' sv e r t i c a l
strokesindicatingstaccatohavealmostall beenrepro-
duced as dots. Alterationsother than those resulting
from misunderstandings and free interpretationare
extremelyfew in number, as are additions of the
engraver's owR.
T h e p u b t i c a t i o nh i s t or y o f t h e w o r k a n d t h e
Baerman n edition
Like almostall of Weber'schamberworks,the 6rand
Duo -which soonbecamepartof the standardclarinet
repertoire- hashad a complicatedpublicationhistory.
O n e o f t h e m a i n l i n e so f t r a n s m i s s i oins p r o v i d e db y
the seriesof printed editions producedby Weber's
m a i np u b l i s h eAr d o l p hM a r t i nS c h l e s i n g ienr B e r l i n b, y
Schlesinger's son Moritz in Parisand by Schlesinger's
successor, the publisherLienau.Of particularinterest
h e r ei s t h e l i n kt o t h e e d i t i o n sb y H e i n r i c hB a e r m a n n ' s
son CarlBaermann, which were producedby the same
(These differentlinesof provenance
publishinghouse.
a r ed e s c r i b e d i n d e t a i li n V o l. V l / 3 o f W e C A ,p p . 1 5 0 -
164 andanalysedwith referenceto variousparticular'-
'improvements'
ly striking and errors).
ln late 1869CarlBaermannproduceda new editionof
the GrandDuo as part of his new edition of Weber's
clarinet works for Schlesinger'sGesammtausgabe.
Baermanncarefullystudied the píano part in the
posthumousSchIesingeredition, removedoutstand i ng
errors and brought about some clarificationof the
musicaltext through his method of notation;he also
s u p p l i e dt h e s o l o p a r t w i t h d e t a i l e dm a r k i n g sW. hile
on this occasionhe refrainedfrom making alterations
to the pitch or durationof notes,the editionis strewn
with markingsprescribingarticulation,phrasingand
dynamics.ln particular,numerousaccentsandcrescen'
do-decrescendo patterns, mainly one or two bars in
length, have been added. In some caseslegatoslurs
havebeenchangedinto staccatomarkings(for instance
in the first movement,bar 47fÍ. or in the semiquaver
figuresin the clarinetpart in the third movement,e.8.
bars 13/14). Occasionally, too, staccatopassagesare
interruptedby the additionof shortslurs.
The effectcreatedby the settingof accentsagainstthe
strongbeats,which Weber saveduntil the end of the
third movement (bars 236ff.), is brought forward by
Baermannto the first appearanceof the graziosoidea
(cf. bars 68ff.). At the start of the slow movementin
bar 5 of the clarinet part the marking "con duolo" is
replacedwith "con tutt'anima" and in place of the
decrescendo beginning at bar 63 Baermanninitially
marksa crescendo.fhe"ritard."in bar 141 of the first
m o v e m e n its a l s oa n a d d i t i o n .I n t h e t h i r d m o v e m e n t
Baermannattempts to give greater precisionto the
continuationsof the clarinettrills in bars 196f. and
2OOf.,which are not clear in Weber's notation, by
'1
addinga quavergracenote b beforebars 97 and 2O1
respectively.
Despitethese highlydetailedspecifications of articu-
lation and dynamics,runningcounterto the musical
text as handeddown to us,the numberof Baermann's
interventions in the presentinstanceis smallin com-
parisonwith thosein his editionsof the other clarinet
works.The Baermanneditionwas subsequently used
as the basisfor fresharrangements and later editions
of the work and thus had a director indirectinflr.rence
on our whole experience of the GrandDuo.The pres-
ent editiongoesbackto the "pre-Baermann" stateof
t h e w o r k . M u s i c i a n sf a m i l i a rw i t h t h e B a e r m a n n edi-
tion will noticethat the oríginalphrasemarksextend
f u r t h e ra n d t h a t t h e a r t i c u l a t i o ni s m o r e e v e n l yi n d i -
cated, so that the chargeof being "short-winded",
which hasbesetthe work overthe courseof its histo-
ry, can be set aside.We should emphasizethat the
definitionof detailsin the printedscorewas particu-
larlyimportantto Weber- the finelydetailedvariants
in articulationin the Rondo theme (bars68ff. And
236ff.) ar:eevidenceof this.
The presentedition and some of the idiosyn-
of Weber'snotation
crasies
As far as possible,the notation of the new edition
adheresto that of the principalsources,in keeping
s f t h e W e C A .A d d i t i o n sc o r r o b o -
w i t h t h e p r i n c i p l eo
rated by other source documentsappear in round
brackets,with detailsadded by the editor ín square
brackets. lt shouldbe bornein mind that passages that
a r eu n m a r k e ds h o u l ds e l d o mb e t a k e n l i t e r a l l yi .
, e 't h e
meanthat
absenceof markingsdoesnot automatically
precedingindicationsof articulationhave ceasedto
apply.Rather,barsof this kind may needto be ínter-
pretedeitherin the light of parallelpassages or in line
with Weber'sfrequentpracticeof usingvariants.For
e x a m p l ei,n t h e f i r s t m o v e m e n it t s e e m so b v i o u st h a t
the staccatishouldbe carriedover to the r.h. in bars
139 and 161 to matchthe precedingparallelpassage.
By and large,the shorthanddevicesindicatingrepeti-
tions of notesand chordswhich are often used both
by Weber and by the copyistsof the engraver'scopy-
texts have been retained;they have been written out
in full, however,in caseswhere their retentionwould
havecreatedunnecessary confusionfor the performer.
The rhythmicvaluesof gracenotesand terminations
accompanyingsingle notes and trills vary both be-
tween sourcesand often within a singlemanuscript. In
the caseof gracenotes Weber tends to use the form
I for singlenotesand demisemiquavers in the caseof
two or more notes, regardlessof the metre' For
appoggiaturasWeber sometimesuses i and some-
timesnormal,smaller-size quavers.The copyistusually
adoptedthe form of gracenotes used by Weber.
The distinctivefeaturesof Weber'sslurringhavebeen
retained,but in placesthey makefor unwieldiness in
the score and pose a challenge to the performer.
Weber'simpreciseand inconsistent useof slursmakes
it impossibleto tell in the Rondotheme in the third
movementto what extentthe many discrepancies are
intentionalandwhethersome of them are the result of
carelessness in notation or whether they indicatea
distinctionbetweenphrasingand articulationmarks.
Evenwhere the bassfigure is taken up in the middle
sectionin bars 136ff. it is difficultto tell whether a
djfferentiationis intended.The editor has therefore
reproducedthe slurswith the precisionfound in the
sourcedocument and just introduceda few careful
corrections(markedas such).Toindicatesemprelegato
or sempreportato playing in repeatedor continuous
accompanimentfigures, Weber consistently uses
phrasalslurs extending over severalbars: at times
thesealternatearbitrarilywith single-or multiple-bar
(and often also overlappingor contiguous)slurs. In
suchcasesthe slursshouldnot be misreadas indicat-
ing the start of a new sectionfor articulation.This
poini is borneout by the variationsin the notationof
the varioussourcesobservablehere (seefor example
the pianowriting in bars64ff.,88ff., 126ff. and 259ff
in the first movement;bars9ff. and71ff.in the second
'1
movementand bars 63ff. in the third movement).
Furtherproblemsarisewith Alberti-styleaccompani-
ment figures(e.g.first movement,bar 259Íf.),where
the contiguousslurs of variable length in the r'h'
merelyindicatelegatoplaying,while the imprecisely
o f t h e s e c o n dm o v e m e n t ,
p l a c e ds l u r sa t t h e b e g i n n i n g
bars5 and 8ff. merelyindicatea portato.The useof slurs
spanningrestsand of open-endedslursin repeatedfig-
u r e s( s u c ha st h o s ei n t h e t h i r d m o v e m e n tb, a r s6 1 - 6 2 ,
r.h.or bars147-150, lower system)demonstratepar-
ticularlyclearlythat theseslursmerelyindícatea way
of playingand are not structuralmarkers.
The precisesignificanceof the distinctionbetween r e t a i n e di n t h e p r e s e net d i t i o n .
dots and verticalstrokesin Weberremainsunresolved, Weber suppliedpedalmarkingsonly at the portati in
but the distinctionis againfound in the CrandDuo and bars37ff. and51 in the secondmovement,and in bar
- to the extentthat it can be clearlyestablished - is 2 1 7 i n t h e t h i r d m o v e m e n t .I n t h e l a t t e rt w o c a s e s ,
retainedín this edition.The copyistof the engraver's raisingthe dampersservesto reinforcethe C major
copy-textused dots throughout;the added vertical chordalsonorityand the repetitionsof the B flat major
strokesare later entriesof Weber's,most of which seventhchordrespectively, and in the firstcasethe aim
were then amendedto dots beforeprinting.Weber's is clearlyto bríngout the sonorityof the high register
use of a verticalstrokeat the end of a slur is also a i n t h e r . h .i n a s i m i l a rw a y .( W e b e r ' sB r o d m a n ng r a n d
distinctivefeatureof his notation.lt seemsclearthat p i a n o h a d , i n a d d i t i o nt o t h e d a m p e rp e d a,l a n u n a
the purposeis to indicatea shorteningof the note cordapedal,a bassoonstop and a pianopedal;in this
value.The sameis true of the verticalstrokesat the instance,however,only the raisingof the dampers
b e g i n n i n go r i n t h e m i d d l eo f t h e s l u r ,f o r e x a m p l ei n seemsto be indicated.)Pedalchangeshere are pre-
the first movement,bars253-254, l.h. s u m a b l ya l s oi n d i c a t e db y t h e s l u r r i n g .
Within Weber'sindicationsof dynamics,which leave Thereare differentwaysof interpretíng the shorthand
manygapsand are often difficultto guess,his mark- n o t a t i o no f t h e d e m i s e m i q u a v terre m o l i i n t h e f i n a l e ,
ings of accents are sometimesdifficult to interpret bars125ff., as indeedthe variouseditionsof the work
too, as their sizemakesthem scarcelydistinguishable show.
from decrescendo haírpins.Evenimmediatelysucces- Alternativenotes aregivenfor the clarinetin the first
sive,motivicallyidenticalpassages may be markeddif- haffof bar 196 in the first movement,perhapsto take
ferently,asfor instancein the clarinetpart in the third accountof the instrument'stechnicalfeatures.Obvi-
movement(seethe lengthof a decrescendo hairpinin o u s l y t h e d i f f i c u l t i e sd o n o t r e s u l tf r o m i n d i v i d u a l
bar 212 of the engraver'scopy and a normal accent notes but from playing the first three notes in
s i g ni n b a r2 1 4 ; b o t h a r ea d d i t i o n sb y W e b e r ) .I n s u c h sequence.The notation of the clarinet part at' the
instances the editorshavebeen obligedto reproduce b e g i n n i n go f t h e d e v e l o p m e n ts e c t i o no f t h e f i r s t
their respective readingsin the EditedText. movement (bars 130bff.)has been retainedfor the
A characteristic exampleof this problemis a correction sakeof legibility, althoughthe markingstyleis actually
m a d eb y W e b e r i n t h e t h i r d m o v e m e n t w , h e r ei n b a r incorrect.
17 the copyisthad.retainedthe accenton the long
note in the clarinet,but Weber then wrotefp overit: Heartfeltthanksgo at this point to all thosewho have
it would seemthat the two forms of markingare not contríbuted t o t h e p r e p a r a t í oonf t h i s e d i t i o n "
synonymous for Weber.Although- asthe entry in the
autographscoreshows- he presumablypreferredthe l(nut Holtstràter
'simpler'form of notation becauseit was easierto T r a n s l a t i oJnu l i aR u s h w o r t h
write, it seemsthe accentsigncanessentially be inter-
pretedin two ways.In other words,the possibilityof
differentiationmust alwaysbe borne in mind, espe-
c i a l l yw i t h l o n gn o t ev a l u e s(.A n o t h e ri n d i c a t i o no f t h e
distinctions involvedis providedby an alteratíonin bar
59, where in the clarinetpart Weber overwritesthe
accent,which the copyisthad againcarriedover from
the autographscore,with a fairly long decrescendo
h a i r p i ne x t e n d i n gt h e w h o l e d u r a t i o no f t h e n o t e .
At the sametime, however,he replacesthe accentin
t h e l . h .w í t h a nf p ) .
Weber'snotation for the piano differsfrom modern
conventioninasmuchas he often usesthe stavesin
order to make clear the musicalflow or the part-
writing. His common practicesof notatingthe two
handson one stave(e.g.first movement,bars126ff.),
and of continuinga figureon a differentstavefrom the
o n e i n w h i c h i t h a s b e g u n( e . g .f i r s t m o v e m e n t b , ars
166ff and . 1 9 8 f f . ) b
, o t h e x e m p l i f t
y h i s d e s i r t
e o m ake
c l e a rt h e s e q u e n c eo f m u s i c a e l v e n t sa n d h a v eb e e n
 CrandDuo concertant
Carl fulariavon Weber
1786-1826
(WeV P 7)
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Das widerrechtliche Kopieren von Noten ist gesetzlich verboten und kann privat- und strafrechtlich verfolgt werden.
Unauthorised copying of music is forbidden by law, and may result in criminal or civii action
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