{"id":7815,"date":"2024-10-14T08:00:24","date_gmt":"2024-10-14T06:00:24","guid":{"rendered":"https:\/\/blog.henle.de\/en\/?p=7815"},"modified":"2024-10-14T08:28:24","modified_gmt":"2024-10-14T06:28:24","slug":"the-elders-errors-tenaciously-persist-on-the-violin-solo-entry-in-mozarts-d-major-violin-concerto-k-218","status":"publish","type":"post","link":"https:\/\/blog.henle.de\/en\/2024\/10\/14\/the-elders-errors-tenaciously-persist-on-the-violin-solo-entry-in-mozarts-d-major-violin-concerto-k-218\/","title":{"rendered":"The elders\u2019 errors tenaciously persist. On the violin solo entry in Mozart\u2019s D-major Violin Concerto, K. 218"},"content":{"rendered":"<div id=\"attachment_7818\" style=\"width: 275px\" class=\"wp-caption alignright\"><a href=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1-2.jpeg\" target=\"_blank\" rel=\"noopener\"><img aria-describedby=\"caption-attachment-7818\" decoding=\"async\" loading=\"lazy\" class=\"wp-image-7818\" src=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1-2.jpeg\" alt=\"\" width=\"265\" height=\"332\" srcset=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1-2.jpeg 934w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1-2-240x300.jpeg 240w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1-2-818x1024.jpeg 818w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1-2-768x961.jpeg 768w\" sizes=\"(max-width: 265px) 100vw, 265px\" \/><\/a><p id=\"caption-attachment-7818\" class=\"wp-caption-text\">Mozart, Violin Concerto D-major, K. 218,<br \/>ed. by Ferdinand David,<br \/>A-Sm Rara 218\/5<\/p><\/div>\n<p>As Urtext editors, we could sometimes despair: we\u2019re offering the music world a reliable music text, but those for whom all our work is devoted go on ignoring the new findings in their playing and teaching.<\/p>\n<p>You\u2019d like an example? I recently heard a young, very talented Korean violinist play Mozart&#8217;s D-major Concerto, K. 218 (<a href=\"https:\/\/www.henle.de\/us\/Violin-Concerto-no.-4-D-major-K.-218\/HN-680\" target=\"_blank\" rel=\"noopener\">HN 680<\/a>). Apart from the fact that he unfortunately dispensed with the \u2018common sense\u2019 standard, at least in historically informed performance practice, of playing the tutti passages and conducting the orchestra as<em> primarius<\/em>, we heard in detail all those little note errors and subjective editorial additions ultimately going back to Ferdinand David\u2019s first edition of 1865.<!--more--><\/p>\n<p>Let\u2019s take the solo violin\u2019s entry in measure 42: our violinist is still not the only one who plays something like this \u2013 for the old errors persist:<\/p>\n<div id=\"attachment_7821\" style=\"width: 360px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1.png\" target=\"_blank\" rel=\"noopener\"><img aria-describedby=\"caption-attachment-7821\" decoding=\"async\" loading=\"lazy\" class=\"wp-image-7821\" src=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1.png\" alt=\"\" width=\"350\" height=\"230\" srcset=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1.png 530w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild1-300x198.png 300w\" sizes=\"(max-width: 350px) 100vw, 350px\" \/><\/a><p id=\"caption-attachment-7821\" class=\"wp-caption-text\">Mozart, Violin Concerto D-major, K. 218, \u2018SOLO\u2019<br \/>(mm. 42ff.), first edition, Breitkopf &amp; H\u00e4rtel, 1865,<br \/>ed. by Ferdinand David<\/p><\/div>\n<p>Short appoggiatura and <em>forte<\/em> \u2013 He ultimately played the passage as we know it from David Oistrakh (though he couldn\u2019t match Oistrakh\u2019s tone and verve):<\/p>\n<p><iframe loading=\"lazy\" title=\"David Oistrakh - Mozart - Violin Concerto No 4 in D major, K 218\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/l3tK0836A8c?start=90&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>A close reading of (my) Urtext edition will reveal that this is not a short but a long appoggiatura to the first note, to be played on the beat. The appropriate dynamics would have to be negotiated. In Mozart\u2019s autograph, the passage looks like this:<\/p>\n<div id=\"attachment_7823\" style=\"width: 510px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild2.png\" target=\"_blank\" rel=\"noopener\"><img aria-describedby=\"caption-attachment-7823\" decoding=\"async\" loading=\"lazy\" class=\"wp-image-7823\" src=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild2.png\" alt=\"\" width=\"500\" height=\"455\" srcset=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild2.png 605w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/Bild2-300x273.png 300w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><\/a><p id=\"caption-attachment-7823\" class=\"wp-caption-text\">Mozart, Violin Concerto D-major, K. 218, \u2018Solo\u2019 (mm. 42 ff.), autograph in Krakau, <a href=\"https:\/\/jbc.bj.uj.edu.pl\/dlibra\/publication\/963698\/edition\/924657\/content\" target=\"_blank\" rel=\"noopener\">Biblioteka Jagiello\u0144ska<\/a><\/p><\/div>\n<p>Playing \u2013 correctly \u2013 a long appoggiatura, the opening in the high register seems much gentler and not quite so \u2018here I come\u2019 \u2013 trumpeting \u00e0 la Oistrakh. And then, notice that the solo violin has <em>no <\/em>dynamics indication: the two accompanying tutti violins are <em>piano<\/em>! Of course: the opening passage (including the first tutti) is rather march-like thanks to the dotting. It is easy to imagine with timpani and trumpets. But it\u2019s a solo violin in a fairly high register, delicately accompanied in <em>piano<\/em>. I mean: this is not a march, but a kind of \u2018intoning\u2019 or \u2018voicing\u2019 of a banal D-major triad, with a long upbeat, so to speak, on the single note <em>e<\/em><sup>3<\/sup>. Apparently, music that is \u2018less important\u2019 than everything to follow. So, there\u2019s no need to show off as a soloist here. Dear violinists: try it a little more moderately, perhaps in <em>mezzoforte<\/em> and played more casually. At least that\u2019s what I read from Mozart\u2019s autograph.<\/p>\n<p>Incidentally, we see a Mozart deletion in the autograph just before the solo violin enters. When interpreting the concerto, it can only help if we ask what could have prompted Mozart subsequently to delete this unaccompanied D-major triadic upbeat (possibly only after completing the manuscript). As soon as we speculate about what might have been musically improved by this deletion, we understand a bit more about the D-major concerto \u2013 and about Mozart in general. (Especially because the work\u2019s autograph is <a href=\"https:\/\/jbc.bj.uj.edu.pl\/dlibra\/publication\/963698\/edition\/924657\/content\" target=\"_blank\" rel=\"noopener\">freely and easily accessible online<\/a>, there is really no excuse not to study it in preparation for interpreting the work.)<\/p>\n<p>Gabriel Banat gives an interesting reference in his insightful preface to the facsimile edition of all the violin concertos (<a href=\"https:\/\/store.doverpublications.com\/collections\/calla-editions\/products\/9781606600597\" target=\"_blank\" rel=\"noopener\"><em>The Mozart Violin Concerti: A Facsimile Edition of the Autographs<\/em>. Mineola, New York, 2015<\/a>). Mozart had already written such a triadic upbeat before (the second) entry of the solo violin, a few weeks prior to the D-major Concerto, that is, in the first movement of the G-major Concerto, K. 216 (= second solo section, m. 51):<\/p>\n<div id=\"attachment_7824\" style=\"width: 510px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/HN_688_F_Mozart_Partitur-3.jpg\" target=\"_blank\" rel=\"noopener\"><img aria-describedby=\"caption-attachment-7824\" decoding=\"async\" loading=\"lazy\" class=\"wp-image-7824\" src=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/HN_688_F_Mozart_Partitur-3.jpg\" alt=\"\" width=\"500\" height=\"258\" srcset=\"https:\/\/blog.henle.de\/en\/files\/2024\/10\/HN_688_F_Mozart_Partitur-3.jpg 9980w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/HN_688_F_Mozart_Partitur-3-300x155.jpg 300w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/HN_688_F_Mozart_Partitur-3-1024x528.jpg 1024w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/HN_688_F_Mozart_Partitur-3-768x396.jpg 768w, https:\/\/blog.henle.de\/en\/files\/2024\/10\/HN_688_F_Mozart_Partitur-3-1536x792.jpg 1536w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><\/a><p id=\"caption-attachment-7824\" class=\"wp-caption-text\">Mozart, Violin Concerto G-major, K. 216, \u2018Solo\u2019 (mm. 51 ff.), Urtext edition, G. Henle, 2002, ed. by Wolf-Dieter Seiffert (<a href=\"https:\/\/www.henle.de\/de\/Violinkonzert-Nr.-3-G-dur-KV-216\/HN-688\" target=\"_blank\" rel=\"noopener\">HN 688<\/a>)<\/p><\/div>\n<p>Banat speculates that possibly Mozart was embarrassed by this \u2018repetition\u2019 of his idea, which is why he deleted it. On the other hand, the violin also plays an ascending triad at its entry in the following concerto, in A-major, K. 219 (m. 40). All three violin entrances are (or in the case of K. 218: were) interestingly related, but not like identical twins. Perhaps you, dear reader, have another idea as to why Mozart deleted this not actually wrong triadic measure in the D-major concerto?<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As Urtext editors, we could sometimes despair: we\u2019re offering the &hellip; <a href=\"https:\/\/blog.henle.de\/en\/2024\/10\/14\/the-elders-errors-tenaciously-persist-on-the-violin-solo-entry-in-mozarts-d-major-violin-concerto-k-218\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[321,319,86,262,312,3,275,349,320,518],"tags":[827,663,653,661,78,28,832,97,640,520],"_links":{"self":[{"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/posts\/7815"}],"collection":[{"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/comments?post=7815"}],"version-history":[{"count":13,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/posts\/7815\/revisions"}],"predecessor-version":[{"id":7836,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/posts\/7815\/revisions\/7836"}],"wp:attachment":[{"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/media?parent=7815"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/categories?post=7815"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.henle.de\/en\/wp-json\/wp\/v2\/tags?post=7815"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}