Strauss Oboe Concerto: A Re-Examination of the Available Sources and Editions Author(s): Jonathan Del Mar Source: Tempo,

New Series, No. 150 (Sep., 1984), pp. 18-26 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/946078 . Accessed: 19/07/2011 07:13
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STRAUSS OBOE CONCERTO: A re-examination of the available sources and editions JonathanDel Mar
IT IS ALWAYS FRUSTRATING, in these days of necessarily limited rehearsals, when the

all-too-short time that one has allocated to a piece becomes beset by boring textual problems. Valuable minutes can slip away, while the point under discussion may make no appreciable difference whatever to the actual performance; and it is all the more galling when (as often in the present work) dissection eventually reveals the score to be more likely at fault, the parts probably correct, and therefore the dissection itself to have been an entire red herring. But I have long suspected there to be a considerable iceberg of misprints of all sorts in the Strauss Oboe Concerto, such are the problems that one always encounters in rehearsing it. And was consequently delighted to discover recently how much valuable source material awaited the enquiring eye no further from home than the Archive Department of Boosey and Hawkes. I am indebted to Mr Robert Cowan both for unearthing the earlier sources and for his patience in assisting me to consult them on many occasions; and I have set out below the errors and misreadings-many of them very significant-that have been discovered. It must be added that this cannot claim to be complete since not every single note of the autograph has been checked; but there is so much here that needs to be known that I present it as it is, and would only plead that if other conductors or players know of any other problems, I would love to add them to the collection.
SOURCES Photocopy of Autograph Particell (short score) dated I4.9.I945 Photocopy of Autograph Full Score with original ending (dated 25.10.45) Production photocopy of copyist's Full Score with original ending (undated) ?() Autograph page of the revised ending, dated 1.2.48 Production photocopy of copyist's Full Score, ( 948) identical with ( except for the last three pages which incorporate the revised ending Full and miniature scores, published by Boosey & Hawkes in August and October 1948 respectively ) Orchestral parts, published by Boosey & Hawkes in 1948.

O(

STRAUSS OBOE CONCERTO

I9

Strauss was 81 years old when he wrote out the full score ); considering which, it is a veritable masterpiece of clarity and neatness. However, as will be seen, ( has been invaluable where, for example, badly centred notes in ( had resulted in misreadings in (?, or where Strauss simply suffered momentary aberrations-writing, beautifully neatly, notes that can only be completely erroneous. For example: Between [ and one bar before 5-: 2nd horn clearly G in every bar and 'in F' on each stave.
5 bars before 6 : V1 2 n. I clearly D

Vivace before 34 : Vc clearly G D 8 bars before 41: Vl 2 clearly C (#) But the most interesting points of doubt and discrepancy between all the different sources are as follows: (I) Strauss stipulates a string strength of 8.6.4.3.2 but divides Vc into four separate, numbered parts between 5th of 38 and 7th of [39. (After [40 the lower stave is markeddieiibrigen with all three lower parts on it.) Since a small string strength is clearly intended, it might be best to stipulate 8.6.4.4.2 at the top of the score. (Indeed, this very indication survived briefly in (B).) (2) 6th of [t. A particularly contentious point, since almost all oboists play the version given in their part (n.3-4 B A) while some conductors try to convince them that the score is correct with C($) B. ( settles the matter in favour of the oboists; and it is plain from (), where the notes are badly written, how they came to be misread in (E) where, however, a later hand (the one making the oboe part?) has ringed them, writing B A over the top. 6 before [- can hardly still be mf, but neither () nor () give any dynamic. An (3) editorial [p] is best. (4) Fig [41. () is quite clear that the dynamic isfp in all parts, notpp as in ( and later printings. (5) Fig [j . The clarinet line is probably correct as printed. Originally (and in ()) it read more naturally as follows:
Ex. I
(in C)

~-

J F-- I

IF' -

etc.

to match D major harmony in the strings. The change of harmony necessitated the complete and somewhat tortuous reworking of the clarinet phrase, which is ratherhastily scratched into () though the notes appearto have been deciphered correctly. (6) 2 before [ -. In ( this bar comes at the beginning of a line, so that the violas are now on one stave, designated alle. But Strauss must surely have meant the A to be played by the Solo, finishing the phrase, and ( opts for this, giving the G togli altri. ? follows ()'s clumsy misinterpretation. (7) 5 before 11 () is clear that Clar. has (sounding) Eb Ft at the end of the bar, so Solo Ob. must be as well, though Strauss omits theb to the E (the Fb is there) and then in ( omits both Ob. accidentals (cf. Exx. 2, 3). (P is correct, however. (8) 4 before [11. This bar coming at the end of a line in ?, it looks as if the woodwind resolution in the next bar has simply been overlooked. Yet the

20

TEMPO

10
'.

@,

- _-

,_

,_

?@

I ;Y?
~~e- it?
V I

I*

-~

I~~~UIFrT

\-

C'

'4
_

tII1-

I,-.

Ex.

((),

bcforc [10 to 3 beforc [l

printed text is confirmed in ? where, moreover, the two bars come together in the middle of a system so that the slurs, leading nowhere, look even odder. ) gives an alternation ofpizz and arcowhich implies the whole accompaniment in these bars was originally conceived for strings only, so that Strauss's final intentions must remain in doubt. (cf. Exx. 2, 3; cf. also the similarly odd non-resolution in the flute I bar before 13] in Ex. 4.)

STRAUSS OBOE CONCERTO

2I

Ex. 3 (),

from [1 to 4 before [12)

22

TEMPO

i
i ,

K:
r''

ii
-

..

" 'I

oO, 'J.,.,d., =fio) d i,~? uooe

Ex. 4 (?

from I before

13)

STRAUSS OBOE CONCERTO

23

. (9) 5th of -11 In (, at the top of the score, is a misguided instruction to translate all tempo markings or abbreviations into Italian. Sometimes Strauss did use Italian, e.g. at fig. [15, andanteand cantabilebefore 221, and allegrobefore [51; but here his marking is Lebhaft. (IO) 6th of il. The long notes in Vla, Vc, Cb (without repeated quaver strokes) are quite clear in () and (). I I) I before [13. In (?, Strauss clearly writes a low Eb quaver below the otherwise entirely Db major chord. This is equally clearly entered into the double bass line in (), and resolves smoothly in the next bar onto an E (an octave below the violas) which is again clear in both sources. But the E is undoubtedly odd, making an insufficient impression in just the basses to be perceived as anything other thanjust a wrong note, and perhaps for this reason (for no authorization by Strauss for corrections to () is traceable) the note has been arrowed by the copyist and marked Bass Db not Eb, while the following Eb has been quietly ignored. Perhaps after all this is the only convincing solution. (cf. Ex. 4.) (I2) Fig. [i8. Vc n.I could be either C or D in (), but is quite clearly D in (). (13) 2 before [23. Some interpreters change the 2nd bassoon A to Ab, but Ab is perfectly possible (if abrupt) as F major is reached in the next bar anyway. Neither ( nor (A) has any accidental. (14) 2 before [24 , 2 before 32 . Strauss was careless in his notation of Solo Ob. and V1I (laterClar.), forgetting the double dot every time in (), and three times out of four in ) (he supplies it only in V1 I). But the little notes are clearly demis every time in () and (), and the mistake in ) 2 before 24 derives from carelessness in (). The Ob. part is correct. (15) Fig. [24. Strauss writes etwas bewegter in (). (as (I6) 4th of [3j. Cor A. B(b) is quite clear in (. (17) 9 before [33 . Above the oboe line Strauss writes not Cadenza-which he puts at the top of the score-but (freiim Vortrag) which clearly defeated the translator as the indication has been quietly forgotten! (18) 2 before Vivace. There is no indication in () or (A)as to whether the trills are semitones or tones. They are usually played: b t (i.e. Cb ) b b ~, which conform to the convention of adhering to the key signature though the first b could usefully be printed in [ ]. (I9) I before Vivace. Strauss writes (schnell)over the oboe run-up. very carelessly written in (), and consequently have all been disastrously misread as B's by (, followed by (), though ? is correct. ) confirms that all must be C's, # L# respectively. (21) Fig. 38]. 2nd Vc. In () the page-turn comes after 4 bars. The first 4 bars are in two staves (Solo and dieiibrigen)while the following bars are in three, the 2nd Vc being given the lower tutti line, just as in a normal divisi. Clearly, then, the E should be deleted from the 2nd Vc in the first 4 bars. (22) Fig. [39]. No score gives any dynamic for Solo Ob. which should have an editorial p ]; the same applies to Fag. 6 bars later. Both timesp is given in) . (23) Fig. [40. The Oboe part gives the tempo marking Lebhaft;but () shows that this should apply to just V1 I, being written in brackets above their phrase. The indication survived briefly in () with a very faint (vivace). (24) 6 before 41 to 8 before [42. Strauss wrote this whole passage for Horn in E. It should look like this (Ex. 5):
(20) 5th of 34 (V1 2, n.2), 6th of [34 (V1 2, n.2), 4 before [35 (V1 2, n. I). These C's are

24
Ex. 5 in E

TEMPO

j k
41

IIJ
2

1
2

IJ

I1
inF

which is, of course, much more characteristic horn writing. (25) 3 before [45 . The Cor A. part in this bar (n.2 and 3) is a real muddle, nearly every source giving a different version (and even ? was revised in this unique respect-the full score in I968, the miniature in I974). () has A B(b); ?, followed by () and (?), give E F(q ); the older (, attempting to 'correct' the clash with the violas' B b, has E( ) F#, while later scores read E , F( b ). It would seem that (&) is the most likely; n.3 must be F (Strausssurely thought only of the smooth duet-counterpoint without worrying over the clash, cf. also 8th bar of 45 , para 26) which is much happier after the whole tone, so that the only slip Strauss made was to forget the b to the E in ( . (26) 8th of [4 ]. The last note in Clars, VI 2 clashes with the bass, but all sources agree and it is probably intentional. (as (27) Fig. 57 . In @ Strauss writes etwasgemdchlich in (P)). 6th of 57 . In ( Strausswrites (n.2 and 3) A F# in Fl, B G #in Clar. @, ?, and (28) (P) change Clar to agree with the Solo Ob's answering phrase but keep Fl. as ( . This is, of course, the only impossible permutation; usually the flute is altered so that both bars correspond with four bars earlier, yet Strauss'sversion is arguably more interesting, varying the sequence so that it devolves on the solo oboe to initiate the rising phrase which then culminates in the running
semiquavers.

We may therefore conclude with the following summary: Erratain score ())
Numbers in brackets refer to the relevant paragraph in the above discussion.

(I) String strength: 8.6.4.4.2

(2) (3) (4)

(6)

(7)

Tutti Vlas A not F :( () cor3 before FT] rect) 6th of [r] . Solo Ob. n.3-4 B A not C(s) B Fig. J Solo Viaf notff 6 before [j] . Strings [p] Fig. T . All partsfp not pp 2nd and 4th of R[ 2nd Horn: delete ties 4th of il Tutti Vlas cresc. 2nd Horn, VI 2: delete ties 3 before 2 before [1 . Solo Via delete G (and keep in treble clef). Tutti vlas delete A Fig. 9 VI 2 Vlas p to first note I before [i'] Fl. slur to thirdnote (both parts correct) 6 before [-] . Vlas arco (Vc Cb presumably pizz despite crotchet; no mark in () ) 5 before 1[ . Solo Ob. E b F

El

4 before 1 . V1 I minim rest missing 2 before E . Vla last note stacc. dot Fig. 1] velar penultimate note D (9) 5th of 1it Lebhaft, not Vivace 2 before [3] VI Ito low C (() correct) Fig. [14 . Cbf not p; Bassoonsf, and > in the next bar 5 before E6 VI 2 cresc (() correct) Fig. 1 Vcf ((0 correct) (I2) Fig. 1J . Vc n.I D not CS Fig. 18 . Vls n.2 p espr. ((i) correct) 4th of [21. VI I dot to C crotchet. (() correct) 3rd of ]. The crotchet F belongs to the second bassoon, not the first who should have dotted minims tied, just as two bars earlier. (Both parts are correct) 5th of 22 . Delete key signature in Clars.

STRAUSS OBOE CONCERTO

(14) 2 before 24 . Solo Ob., V1 I (15) Fig. 2 . etwas bewegter Fig. 12 . Woodwindp 3rd of [24. Vlas arco. 7th, 8th of 24 V1 2 < in each bar () correct though only the first is in ()) 8th of 24 . Vlas < ((0 correct) 8 before [25 . Horns p Fig. 26 . V 2p Fig. 29 is printed a bar too late. ((i) and

25

agreewith (0)) (),

Fig. 29 . Va slur (over 2 bars) is in (),

but

missingin (?,

and (

and (; ? correct) Fig. 32 . Vls, Vlasp (0 correct) II before 33]. Cb arco (? correct)

Fig. 29 . Cb arco (? correct) Fig. 30. Clars p (( correct) Fig. 3 . 2nd Clar G not A( ? correct) Fig. 37. V1 2 arco ( ? correct) 2 before 32 . Cb arco ( correct) I before 32 to Fig. E . Vc tied (clearin (

(17) 9 before [33. Cadenzaat top of score; (freiim Vortrag)above oboe line (?( correct) 2nd of [-1. V1 I pizz and pp ( correct) 3rd of [33]. All parts: fermata missing 3 before Vivace. 4th last note G[ (must be, and as ? -though nothing in () or ()) (I8) 2 before Vivace. [ b] above first trill (19) I before Vivace. (schnell) not (allegro) (() correct) 7th of [35. 2nd Clar delete dim (which first appears in () Fig. 1 . V1 I delete superfluous slur (21) Fig. 8 . 2nd Vc delete E for 4 bars. 4 before 39 . Clar p 3 before 39 . 2nd Fag p bar earlier (( correct) (22) Fig. [39 . Solo Ob. [p]; 7th of 39Fag [p]; Vlas. p (not pp) across barline, above V1 I's (23) Fig. [40 . (lebhaft) phrase 6th of i40 . VI I n.I B# (() clear, and( correct) (24) 6 before E41 to 8 before [42. Transpose Horn back into E 6 to 5 before 43 . Extend Vc slur to include 8th of [4 . Lower Vc G not F ((

5th of 49 . Cor A, 2nd horn, Vlas, Vc. p 2nd of [5 . Cor A p ( ( correct) 5th of [ . Cb pp 6th of [50]. Cor A slur should begin on first note 8th of [50. Vcp on the Gt cor12 before [5 . VI 2p tofirst note (( rect) 9 to 8 before [1 . Vlas all 9 notes in one slur correct) (( 2nd of [1 Fag p (() correct) 2 before [56 . Fags cresc ( ( correct) 3 before [5 . Vas, Vlas last two notesf( ? correct) corFig. [5 . Vlas alto clef missing (( rect) (27) Fig. [71. etwasgemichlich 5th of 57 Fl. Clarf (clear in @ ) (28) 6th of 57 . Clar n.2-3 B G(O) not C(#) B 9th of 57 . Cb delete superfluous slur Tempo primo Cbp (( correct) 7th last bar. Cb mf () correct) 6th last bar. Cor A. n. I B$ not Bx; Strauss's mistake in (

Errata in ()
2 before m'fig [3. The E and G are badly , printed in V1 I, looking almost like F and A Fig. [] . Solo Vlaf notff (3) 6 before E]. Strings p (4) Fig. [P'. All partsfp notpp 2nd, 4th of [4 2nd horn delete ties 4th of 4. Tutti Vlas cresc is printed a bar too early. Delete slur to F $ 3 before [5] 2nd horn, V12 delete ties. 6 before 6] . Upper Vlas tie wrong 3 before [ . Cb crotchet rest missing I before E . VI 2 delete > 4 before [1 . V1 2 cresc Fig. 11 . Ist Clar penultimate note D Fig. 14 . Cbfnotp 4 before 17. V1 I delete accel 2nd of [17. Solo Vla delete dim 3rd of [1]. Fl. first slur too long. (12) Fig. [ij. Vc D not C#; Fl. espr 3rd of i.. Upper Vc crotchet not minim 8 and 7 before [3 . Ist Clar? (as 4 bars later) (I4) 2 before[4 . VI I . Fig. 24 . 2nd Clar, Fagsp; V1 2 Etwas bewegter 3rd of [ . Vlas arco IO before 1 . 2nd horn delete < 9 before 2j. Cor A delete> 8 before J. Horns p 4th of 252nd Fag n.4 deleteb to A Fig. 6 Vl 2p Fig. [29. Vlas slur (over 2 bars)

C# (like violas) (()

correct)

and

clear,and ( lower. (0

correct) clearand ) correct)

7 before [45. Lower Vc ties missing (() correct); and delete A in upper stave and E in (25) 3 before [45 (older scores only) Cor A n. 2-3 E F($) Fig. 1451 . Solo Vc espr. missing ((P) correct) I before [48. Vlas dim.(( correct) 4th of 49 . The 'dim' should apply only to 1st Fag. not 2nd

26

TEMPO
2nd horn into E as Ex. 5 Fig. 43 is missing in Vlas; n. I C not D is missing in Cb Fig. 4
(25) 3 before 45. Cor A n.2 Eb

(i8) 2 before Vivace.Solo Ob. [ b ] above first trill 2 before 341. Fl accent missing and 5th of [34. Vlas A# not Ab (clearin (
(20) 5th of 34. V12 n.2 C( ); 6th of 34 n.2 C ; 4 before 35 n.I C(#); not B 4 before [35 . Solo Ob. semiquavers (clear in and ()), not quintuplet ( Fig. [ . Fl n.2 E not GL 2nd Clar delete dim 7th of [5 38 . 2nd Vc delete E for 4 bars (2I) Fig. 2 before 39 Vlas barline missing (23) Fig. [4i . V1 I (lebhaft)across barline; delete from Solo Ob, and delete (Vivace) from Fls, Cor A, Clars, Ist Horn (24) 6 before 4 to 8 before [42 Transpose

(0)

Fig. 49 . Vlasf printed too early 4th of [49. 2nd horn n.2 dim; delete from 2nd Fag 5th of 49 . Cor A. 2nd horn, Vlas, Vcp 5th of 1 . Cb pp 8th of 50 . Vcp on the G~ 2 before [56. V1 I cresc printed too early 5th of [5 . Solo Ob. n.2 and 4 A#G, not G# A; Fl and Clarf (28) 6th of [57 Clar n.2-3 B G($) not C(#) B I3th of 17 . Tempoprimo missing in Vlas 6th last bar Cor A. n.I B not Bx. I948 by Hawkes & Son Ltd.

Musical examples from Strauss Oboe Concerto (

The prospect of wading through similar jungles in all Strauss's other Indian Summer works is a daunting one; yet it is to be hoped that they too will eventually be examined in the same way. Quite apartfrom the fascinating discoveries that doubtless lie in store, the day is earnestly to be welcomed when the text of these pieces is sorted out and the material free from error, so that in rehearsalwe can all concentrate wholly on the one thing that, after all, really matters: the music.

GYORGYKURTAG
at the Bath Festival
PREMIERE) Eight Deszo Tandori Choruses (WORLD 1 June: BBCSingers conducted by John Poole 12 Microludes for String Quartet 31 May: Eder String Quartet String Quartet No. 1 3 June: ArdittiString Quartet Jatekok 7 June: Gyorgy and Marta Kurtag Messages of the Late Miss R. V. Troussova 8 June: Adrienne Csengery (soprano), London Sinfonietta c. Diego Masson

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